Strauss & co - 11 November 2013, Johannesburg

132 201 Anton VAN WOUW south african 1862–1945 The Bushman Hunter signed, dated 1902 and with the foundry mark: G. Massa, Roma bronze with a dark brown patina, mounted on a wooden base height: 49 cm, excluding base R600 000–900 000 literature Duffey, A.E. (2008) Anton van Wouw: The Smaller Works , Pretoria: Protea Book House. Another cast from the edition illustrated on pages 36–38. Ernst, J. (2006) Anton van Wouw: ‘n Biografie deur J. Ernst, Vanderbijilpark: Corals Publishers. Another cast from the edition illustrated on page 66. University of Pretoria. (1981) Anton van Wouw 1862– 1945 en die Van Wouwhuis, Pretoria: Butterworth and Co. Another cast from the edition illustrated on page 27, plate A1. notes ‘…through his smaller works [van Wouw] reached heights of sculptural expression which he seldom attained in his monumental works.’ 1 Anton van Wouw’s smaller sculptures were produced out of his own will, in contrast to his larger, monumental works which were usually commissions. It is apparent in these sculptures the enjoyment he took in their production and the consequent effort that he devoted, resulting in the superior quality of rendering and finish inherent therein. The model for this sculpture was a Bushman named Korhaan. At the time that Van Wouw produced the sculpture Korhaan lived with him for a year working as domestic help and model. After this he went into the employ of a man who took him to America where he was exhibited as a human rarity and, ultimately, he ended up at Barnum and Bailey’s circus where he remained for over 30 years. Bushman Hunter depicts a naturalistic Bushman figure dressed only in a loin cloth holding a bow and arrow. Particular to the Italian casts is the superior detail characterising the figure – the texture of his hair, the folds and wrinkles throughout his body, the detailed muscle tone and the prominent veins on his neck, arms and feet. This sculpture exists in different forms, some of the Italian casts possess an arrow with prominent tip and feathers (as in the present lot), while other casts lack these details. This was one of Van Wouw’s most popular sculptures, each of which he finished off personally. This fine Italian cast exemplifies the artist’s skill at rendering realism, as Duffey elaborates: ‘One already sees with these early smaller sculptures how Van Wouw, with his sterling technique and acute observational abilities, portrayed his subjects in the finest detail…The quality of the casting which the founders G. Massa and G. Nsini of Rome did for him during this period was never surpassed and doubtlessly contributed to the high quality of these smaller works.’ 2 1. Duffey, A.E. (2008) Anton van Wouw: The Smaller Works, Pretoria: Protea Book House. p.9 2. Ibid. p.38 Korhaan from an old album of Van Wouw.