Notes

‘In the following year, that is 1924, when Rosamund joined her mother and sister in painting wheatlands near Kimpton, she used pattern to convey emotion. Rosamund’s little panel – so much like her mother’s version of the same subject that only the discrete signature convinces the viewer of its authorship – links with the almost contemporary expressionist work of the young Maggie Laubser who was also painting in Europe at that time. The advance made by the young Rosamund, particularly in the projection of mood, is remarkable, and demonstrates pointedly how the inadvertently exerted influence of the two trained artists, Bertha and Ruth, had been absorbed.’¹

1.  Frieda Harmsen (1980) The Women of Bonnefoi: The Story of the Everard Group, Pretoria: Van Schaik.

Provenance

Strauss & Co, Cape Town, 17 March 2014, lot 689. 

The Tasso Foundation Collection of Important South African Art assembled by the Late Giulio Bertrand of Morgenster Estate.

Literature

Frieda Harmsen (1980) The Women of Bonnefoi: The Story of the Everard Group, Pretoria: Van Schaik, illustrated on page 93, number 96.