Important South African and International Art

Johannesburg  |  2:00pm Mon 12 Nov 2018

Lots

Select a Session

Go to Lot


Robert Hodgins; Four Business Men
Click on the image to zoom

Lot 332

South African 1920-2010
Four Business Men
signed, dated 2004/5 and inscribed with the title, the medium and a dedication 'For Noël and Natasha 5/5/05' on the reverse
oil over indian ink on canvas
90 by 90cm excluding frame

Sold for R 850 000
Including Buyer's Premium and VAT R 967 300

Estimate R 800 000 - 1 000 000


Click here to view all the results
Request a Condition Report

 



The suit is a recurring wardrobe item in Robert Hodgins’s late-career paintings. Their wearers are now routinely interpreted as malevolent. This is an overly determined reading. ‘I look at these men in their suits, and I’m not sure,’ Hodgins said in 2008. ‘They could be criminal, or they could be – you know, they’re all victims of circumstance. I wouldn’t say I’m sorry for them, but I do faintly have enough of the dishonest in me to understand how they get there.’1

Hodgins’s awareness of the suit as a marker of social status has its origins in his biography. In his adolescence, Hodgins was a newsagent’s assistant in Soho, London, and delivered reading material to the area’s sartorial elite. But there is also an art historical thrust to his suited and booted figures. Hodgins was an unabashed fan of George Grosz, a German expressionist whose work was, on one level, an elucidation of the relationship between power and dress. ‘Grosz has been fascinating me for over 40 years,’ Hodgins told critic Ivor Powell in 1984, adding, ‘I’ve picked up certain qualities of Grosz.’2 An eye on masculine vanity was one of those qualities.

Notwithstanding the frequency with which he portrayed men in suits, Hodgins admitted to his uncertainty why. ‘I’ve been working with businessmen in suits,’ he told Powell in 1995. ‘Now what are those suits? Are they protection, are they coats of armour, are they camouflage, are they sexual devices to show they’re successful? What are those suits really?’3 A decade later, when he produced the present lot, his fascination with these questions remained. This lot is noteworthy for Hodgins’s unusual, almost Matisse-like treatment of space. He floats as much as places his four figures on a ground with a distinct sky and earth. The midline, a typical feature of Hodgins’s later work, here forms a horizon. There is the faintest echo of Matisse’s dancing celebrants about his composition, but modulated by Hodgins’s droll, knowing sensibility that men congregated in suits don’t dance.

Sean O’Toole

1 Kathryn Smith (2012). ‘Some General Rules: Roberts Hodgins in Conversation with Kathryn Smith’, in A Lasting Impression, Johannesburg: Wits University Press, page 122.

2 Ivor Powell (1984). ‘One of My Own Fragment: An Interview with Robert Hodgins’, De Arte, No. 31, September, page 42.

3 Ivor Powell (1994). ‘At the Scene of the Crime: An Interview with Robert Hodgins’, Ventilator, No. 1, September, page 46.



Lot Images Select an image below to view


Other lots that might interest you

Robert Hodgins; The Blue Suit
Lot 84
Robert Hodgins
The Blue Suit

R 12 000 - 18 000
Robert Hodgins; Three Figures
Lot 85
Robert Hodgins
Three Figures

R 30 000 - 40 000
Robert Hodgins; Nasty Young Bugger
Lot 334
Robert Hodgins
Nasty Young Bugger

R 400 000 - 500 000
Robert Hodgins; A Night Watch
Lot 138
Robert Hodgins
A Night Watch

R 40 000 - 60 000
Robert Hodgins; Mask Head
Lot 97
Robert Hodgins
Mask Head

R 80 000 - 120 000
Robert Hodgins; Ubu and the Judgement of Paris
Lot 349
Robert Hodgins
Ubu and the Judgement of Paris

R 250 000 - 300 000