What the Fook? The Life and Work of Walter Battiss

Timed Online Auction, 12 - 30 June 2025

This auctionAuction starts closing in Closes 2:00pm Mon, 30 Jun 2025 15 hours 21 minutes 32 seconds
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What the Fook? The Life and Work of Walter Battiss

Current Bid

ZAR 8 000
Lot 382
  • Walter Battiss; Liza
  • Walter Battiss; Liza
  • Walter Battiss; Liza


Lot Estimate
ZAR 8 000 - 12 000USD 447 - 671
Current Bid
1 bid
Current bid ZAR 8 000USD 447
Location
Cape Town
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Condition Report
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Closing in 16 hrs 43 min 32 sec

About this Item

South African 1906-1982
Liza

signed, numbered 9/50 and inscribed with the title in pencil in the margin

colour screenprint on paper
image size: 61 by 48,5cm; 91 by 75 by 2,5cm including frame

Literature

Jillian Carman and Susan Isaac (eds) (2005) Walter Battiss: Gentle Anarchist, exhibition catalogue, Johannesburg: Standard Bank Gallery, another impression from the edition illustrated in colour on page 195 with the title 'Liza Minelli'.

Warren Siebrits (ed) (2016) Walter Battiss: "I Invented Myself", exhibition catalogue, Johannesburg: The Ampersand Foundation, another impression from the edition illustrated in colour on page 139, cat. no. 1974.3 S8*.

Provenance

The Collection of Professor Murray Schoonraad.

Notes

The present lot was initially created as a collage after Battiss' first trip to New York in July 1974. It is reminiscent of Pop Art compositions like that of Andy Warhol in both its thematic and arrangement but combines elements of his Fookian concepts, serving as a compelling example of Fook script. This work was printed by Chris Betambeau of Advanced Graphics, London, in tricolour, giving it a particular vibrancy.

Battiss misspelled Liza Minelli's first name in Fook script (Lisa) but corrected it by adding the correct spelling in English. It is then followed by further Fook script translating to 'Minelli The' below.

This work has also been presented under the title 'Die Aktrise'.1

1 Warren Siebrits (ed) (2016) Walter Battiss: "I Invented Myself", exhibition catalogue, Johannesburg: The Ampersand Foundation, page 138.

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