Strauss & co - 20 May 2019, Johannesburg

78 162 Diamond Bozas SOUTH AFRICAN 1923– Still Life with Strelitzias, Oranges and Ferns signed and dated ‘92; artist’s statement on a label adhered to the reverse; inscribed with the artist’s name, the date, the title, the medium, the catalogue number 0074 and ‘Diamond Bozas: Life and Work 2013’ on a Tatham Art Gallery label adhered to the reverse. oil on board 90 by 66,6 cm R50 000 – 70 000 EXHIBITED Natal Society of Artists, Durban, Flowers and Things , 8 to 26 November 1992, cat. no. 14. Zululand Society of Artists, Eshowe, Diamond Bozas Retrospective , July 1994, cat. no. 34. Empangeni Art and Cultural History Museum, Empangeni, Diamond Bozas Retrospective , 3 June to late August 1997, cat. no. 31. Tatham Art Gallery, Pietermaritzburg, Diamond Bozas: Life andWork , 4 August 2013 to February 2014, cat. no. 74. 163 Diamond Bozas SOUTH AFRICAN 1923– Still Life signed and dated ‘85; inscribed with the artist’s name, the title and the medium on a label adhered to the reverse oil on board 106 by 78 cm R50 000 – 70 000 EXHIBITED Natal Society of Artists, Durban, Diamond Bozas , 18 February to 1 March 1986, cat. no. 32. Natal Society of Artists, Durban, Diamond Bozas Retrospective , 12 to 23 October 1993, cat. no. 17. Zululand Society of Artists, Eshowe, Diamond Bozas Retrospective , July 1994, cat. no. 29. Empangeni Art and Cultural History Museum, Empangeni, Diamond Bozas Retrospective , 3 June to late August 1997, cat. no. 26. Tatham Art Gallery, Pietermaritzburg, Diamond Bozas: Life and Work , 2013, 04 August 2013 to February 2014, cat. no. 95. LITERATURE Brendan Bell and Bryony Clark (eds) (2013) Diamond Bozas: Life and Work , Pietermaritzburg: Tatham Art Gallery. Illustrated in colour on page 74, cat no 0095. LITERATURE Brendan Bell and Bryony Clark (eds) (2013) Diamond Bozas: Life andWork , Pietermaritzburg: Tatham Art Gallery. Illustrated in colour on page 145, cat no 0074. ‘I have been associated with flowers for as long as I can remember, and from childhood have always owned a garden. This love of flowers has, to a large extent, dominated my life. I owned a nursery, and am still involved in the flower arranging movement as an international judge, demonstrator and teacher. But, despite all this, I have painted relatively few flower pieces, one reason being that I have not wanted to be regarded only as a flower painter. Bonnard once said that he would rather keep flowers in a separate room from his studio, while he was painting them, so that they would not become overbearing. He would let the flowers wilt and then start painting. It is the sheer beauty of flowers that has always intimidated me. But since my stay at the Cité Internationale des Arts in Paris last year (1991), I have plucked up the courage to overcome my inhibitions and explore the genre. These are the first steps in that process.’ D Bozas, 1992