Robert Hodgins

Paul C, from Three Pauls and a Vince - A Suite of Four Etchings

About the Session

Previously a Fine Arts professor at the University of South Africa, Dr Rayda Becker spent 1988 to 2001 as senior Art Curator at the University of Witswatersrand Art Galleries in Johannesburg. During her time at Wits Art Galleries, she completed her Doctoral Thesis titled Tsonga headrests: the making of an art history category, which was published in 1999. While her specific research area was focused on the headrests made by Tsonga carvers, Rayda developed a real affinity for all things Limpopo, including figurative sculpture, medicine gourds, Nhunguvani, carved stoppers with heads as their tops, and Tsonga beadwork.

 She also formed deep friendships with some of the artists from the former Venda and Gazankulu areas, namely Jackson Hlungwani, Julius Chauke, Johannes Maswanganyi, Dr Phuthuma Seoka, Nelson Mukhuba, and Noria Mabasa, among others, and often conducted field trips to their homes for research while at Wits Art Museum.

 This curated selection of items from Rayda’s collection includes two Angels by Jackson Hlungwani, whom she accompanied to an exhibition at the Watari Museum in Japan in 1995, where the his ‘Altar of God’, originally from his hilltop sanctuary in Mbhokota in Limpopo, was exhibited, later forming part of the Wits Art Museum’s collection. Also included is a group of Nhunguvana by Tsonga artists, and a carved figure of a Sangoma by Johannes Maswanganyi that also doubles as a Nhunguvani.

Dr Rayda Becker was well known for never settling on a single point of view – whether approaching an exhibition or writing about a specific African art-related topic – and for always opting for a position of multivalency, which led her to be known as Rayda ‘Options’ Becker among many friends and academics in her field.

 This auction includes works by the South African artists who loved her dearly, including a significant work by Robert Hodgins. This offering reflects Rayda’s never-ending curiosity and her unique interpretation of the world around her.

Strauss & Co is delighted to announce that, in accordance with the wishes of the family, a portion of the proceeds from this auction will be donated to the Dr Rayda Becker Art Scholarship Fund. This contribution will support an emerging artist in the development of their career.

Special thanks to Fiona Rankin-Smith for the written contribution and for curating the sale which will be on view at our Cape Town office.


Sold for

ZAR 33 635
Lot 334
  • Robert Hodgins; Paul C, from Three Pauls and a Vince - A Suite of Four Etchings
  • Robert Hodgins; Paul C, from Three Pauls and a Vince - A Suite of Four Etchings
  • Robert Hodgins; Paul C, from Three Pauls and a Vince - A Suite of Four Etchings


Lot Estimate Change Currency
ZAR 8 000 - 12 000
Selling Price
Incl. Buyer's Premium & VAT
ZAR 33 635
Location
Johannesburg
Shipping
Condition Report
May include additional detailed images

About this Item

South African 1920-2010
Paul C, from Three Pauls and a Vince - A Suite of Four Etchings
1987

signed, dated 87, numbered HC, titled, inscribed with the title in pencil and embossed with the Caversham Press chopmark in the margin; inscribed with the artist's name, the date, title and medium on a label adhered to the reverse.

sugar lift etching on paper
image size: 29 by 24,5cm; 69,5 by 54 by 2,5cm including frame

Provenance

Late Estate Dr Rayda Becker.

Literature

Brenda Atkinson (2002) Robert Hodgins, Cape Town: Tafelberg, illustrated in colour on page 39.

Anthea Buys (ed) (2012) A Lasting Impression: The Robert Hodgins Print Archive, Johannesburg: Wits Art Museum, illustrated in colour on page 283, cat. no. 1988.03.02.01.

Notes

'The images, I think, come via early twentieth-century Modernist uses of Africa- they are African masks after Picasso. In 1987, in the better know etching series 'Three Pauls and a Vince, the face of 'Paul P'' (a.k.a. Pablo Picasso), is similarly scarred. From the many self-portraits Picasso painted, Hodgins chose the Picasso with the markings of Africa. The adaptation came once again via Europe.' - Rayda Becker, 2002.

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