Sketch of Malta, Observatory

Notes

The present lot is a preparatory sketch for the oil painting Malta Farm, and is accompanied by a Stephen Welz and Co cataloguing note for that work, that reads:

"One morning, sketchbook in hand, he [Wenning] wandered through the drab, terraced suburban cottages in Observatory, over the railway line to the open fields beyond, and stumbled upon the old farmstead of 'Malta' which stood on a rise overlooking the marshy land of the Cape Flats. Malta Farm, one of the earliest Cape landmarks, dating back to the days of Simon van der Stel, was indeed a landscape painter's dream. The imposing structure, with its rich, silky, moss-covered thatched roof, its mouldy, weather-worn walls and its ancient, windswept trees, made a deep impression on Wenning. He used to relate how he rushed back to the Vineyard Hotel to get his paints and returned and worked feverishly until nightfall. The following morning, however, dissatisfied with the result and feeling that he had not done it justice he made up his mind to return to the subject to make another attempt. What followed is best described in Boonzaier's own words:

'One morning he called on me with his easel, paints and canvasses, He usually took with him two canvasses of equal size, and pinned them together face to face to prevent the paint from smudging. On this occasion I noticed that one of the canvasses had already been painted on and I asked him whether he intended painting over an unsuccessful study, a favourite habit of his. 'Oh!' replied Wenning, 'this is something I painted yesterday, it is a failure. I am painting it out! To satisfy my curiosity he untied the canvas placing before me an undoubted masterpiece. While Wenning listened to my exclamations of surprise his confidence in himself returned and he said: 'Does it appeal to you? I'm glad you think so. Then I will go back and finish it.' Wenning followed Boonzaier's advice, and in the evening brought back what is considered today his finest work. This study of Malta (Plate 19, Rogoff Collection), painted in bold impasto with deep harmonious tones of browns, blacks, greys and greens impresses us by its serene harmony and composition of colour. The only strong colour note is the red brick water tank on the right. It is one of the works by Wenning that can hold its own in any gallery. Malta remained his favourite subject, and, until his death, he returned again and again to paint it anew. Yet, none of the later studies can be compared in quality and freshness to this first impression.'

Literature

Gregoire Boonzaier and Lippy Lipshitz (1949) Wenning, Cape Town, painting illustrated on page 25 to 27.