3rd Sep, 2020 20:00
Modern & Contemporary Art
62
William Kentridge (south Africa 1955-)
Small Atlas Procession
etching with sugarlift, aquatint, drypoint and engraving on a map spread from Stielers Hand-Atlas on Vélin d'Arches Blanc 280 gsm paper
Artwork date: 2000
Signature details: signed and numbered 13/24 in pencil along the bottom margin; embossed with the Caversham Press chop mark bottom right
Literature: McCrickard, K. (2012). William Kentridge. Johannesburg: David Krut Publishers, another example from the edition illustrated on p.35. Law-Viljoen, B. (ed.). (2006). William Kentridge Prints. Johannesburg: David Krut Publishers, another example from the edition illustrated on p.107.
Sold for R102,420
Estimated at R55,000 - R70,000
etching with sugarlift, aquatint, drypoint and engraving on a map spread from Stielers Hand-Atlas on Vélin d'Arches Blanc 280 gsm paper
Artwork date: 2000
Signature details: signed and numbered 13/24 in pencil along the bottom margin; embossed with the Caversham Press chop mark bottom right
Literature: McCrickard, K. (2012). William Kentridge. Johannesburg: David Krut Publishers, another example from the edition illustrated on p.35. Law-Viljoen, B. (ed.). (2006). William Kentridge Prints. Johannesburg: David Krut Publishers, another example from the edition illustrated on p.107.
(1)
sheet size: 54 x 46 cm, unframed
Notes:
Printed by Malcolm Christian, The Caversham Press and published by the artist and Malcolm Christian. Kentridge dreamed up the three Small Atlas Procession etchings (2000) after spotting a sketch from the school of Rogier van der Weyden on display at the Metropolitan Museum of Art. This curious drawing, Men Shoveling Chairs (Scupstoel, 1444–1450), is a design for an ornamental capital and aligns male figures (indeed shoveling chairs) around a half circle. Kentridge began placing his own parading figures on arcs, then extended those arcs into complete circles without a beginning or end. With a nod to Tiepolo’s taste for spreading characters around the margins of ceilings, he wraps his figures around the circle as if walking inside a wheel. He also quotes expressly from Goya’s ceiling painting on the miracles of Saint Anthony painted inside the dome of the San Antonio de la Florida chapel in Madrid (1798). But in these prints, unlike the peachy celestial spaces of the masters, Kentridge fills his central oculi with the terrestrial printed world of maps torn from a 1906 Steilers Hand-Atlas. For Kentridge, Tiepolo’s and Goya’s painted visions of achieved paradise represented an inadmissible state of grace that belied the misery he saw around him in South Africa, in history and everywhere else. On one tondo, figures stand on the outer rim, heads toward the center; on another, they pace the smaller inner circle, heads directed outwards to flip our vision back and forth, telling us that there is no up or down and that all is reversible. McCrickard, K. William Kentridge: Drawing Has its Own Memory from Volume 6, Number 5, on Art in Print. - Available at: https://artinprint.org/article/william-kentridge-drawing-has-its-own-memory/. Accessed: 2 August 2020.
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Auction: Modern & Contemporary Art, 3rd Sep, 2020
This Spring, Aspire Art Auctions broke new ground with a fresh, yet considered selection of artworks that is demographically more representative and reflects the spirit of current times. With a strong focus on South Africa, the sale also proudly represented artists from 10 African countries (Benin, DRC, Ghana, Mozambique, Namibia, Nigeria, Sudan, Togo, Uganda and Zimbabwe) and international artists from Europe, the UK and USA.
A great highlight was Edoardo Villa’s monumental steel sculpture titled Traverse from 1957 which achieved R4,893,400 – an auction record for the artist. Other exceptional offerings included works by Gerard Sekoto, George Pemba, Peter Clarke and Nicholas Hlobo.
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