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Valente Malangatana Ngwenya

Mozambique (1936 -  2011 )
MALANGATANA NGWENYA Valente Blue Faces

Bonhams
Oct 4, 2018
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Variants on Artist's name :

Valente Malangatana

Malangatana

Malangatana Valente Ngwenga

 

Along with Valente Malangatana Ngwenya, our clients also searched for the following authors:
Mario Cesariny, Augusto Ferreira Barros, Bernardo Marques, Julio D.Reis Pereira Julio, Maluda, Jaime Isidoro, Artur Bual
Artworks in Arcadja
137

Some works of Valente Malangatana Ngwenya

Extracted between 137 works in the catalog of Arcadja
Valente Malangatana Ngwenya - Mozambican Esperando Da Paz

Valente Malangatana Ngwenya - Mozambican Esperando Da Paz

Original 1995
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Gross Price
Lot number: 44
Other WORKS AT AUCTION
Description:
Malangatana Ngwenya MOZAMBICAN ESPERANDO DA PAZ 1936-2011 signed (lower right), signed and dated 1995 (on the reverse) acrylic on canvas 117 by 215cm., 46 by 84¼in. Provenance Private Collection, Mozambique Acquired from the above by the present owner Exhibited Maputo, Feira International deMoçambique, 1995 Catalogue Note This work by Malangatana was created during FACIM (Mozambique International Trade Show) and is signed on the reverse by various prominent Mozambican officials, including former President, Joaquim Chissano. President Chissano was Mozambique's second President and served from 1986-2006. In 1992 Chissano ended the Mozambican civil war, which had begun 15 years before in 1977. Prior to his tenure, Chissano was instrumental in negotating Mozambique's independence from Portugal and served as the independent nation's first Minister of Foreign Affairs.
Valente Malangatana Ngwenya - A Mulher Que Vai Ao Espelho E Não Se Vê

Valente Malangatana Ngwenya - A Mulher Que Vai Ao Espelho E Não Se Vê

Original
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Gross Price
Lot number: 131
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Description:
Malangatana Valente Ngwenya (Mozambican, 1936-2011) 'A mulher que vai ao espelho e não se vê' (The woman who goes to the mirror and does not see her face) signed and dated 'Malangatana 93/94' (lower right); inscribed ''A mulher que vai ao espelho e não se vê/ Problemas de Guerre Renamo' (verso) oil on canvas 140 x 120cm (55 1/8 x 47 1/4in). Footnotes Malangatana was born in Matalana, a village near Marracuene. As a child he divided his time between herding cattle and attending the local mission school, before finding employment as an empregado at a country club in the capital Maputo. One of the members, Augusto Cabral, befriended Malangatana and encouraged his artistic inclinations, buying materials so he could attend art lessons at night school. In 1958, Malangatana attended an exhibition of a local art collective, Nucleo de Arte. This inspired him to show his own work, and he held his first exhibition the following year. Malangatana, like many of his artistic contemporaries, was opposed to the Portuguese colonial government, and joined the nationalist movement FRELIMO (the Front for Liberation of Mozambique). In 1964, he was detained by the PIDE, the Portuguese secret police and imprisoned for two years. This time was to have a profound effect on the artworks he later produced. Post independence, he served as a FRELIMO deputy for four years and later served as a member of the Maputo Municipal Assembly. On Malanganta's death in 2011, the critic H. Cotter commented that the violence and punishment the artist experienced in these years continued to haunt him until the end of his life: "Densely packed with figures, (his paintings) presented lurid, Boschian visions of the Last Judgement and the torments of hell rooted in images related to healing and witchcraft remembered from childhood." Bibliography H. Cotter, 'Malangatana Ngwenya, Mozambican Painter and Poet, Dies at 74', The New York Times, 8 January 2011.
Valente Malangatana Ngwenya - Blue Faces

Valente Malangatana Ngwenya - Blue Faces

Original 2002
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Price:

Lot number: 4
Other WORKS AT AUCTION
Description:
Malangatana Valente Ngwenya (Mozambican, 1936-2011) Blue faces signed and dated 'Malangatana/02' (lower left) oil on canvas 57 x 34cm (22 7/16 x 13 3/8in). Footnotes Provenance A private collection, Lisbon. Malangatana was born in Matalana, a village near Marracuene. As a child he divided his time between herding cattle and attending the local mission school, before finding employment as an empregado at a country club in the capital Maputo. One of the members, Augusto Cabral, befriended Malangatana and encouraged his artistic inclinations, buying materials so he could attend art lessons at night school. In 1958, Malangatana attended an exhibition of a local art collective, Nucleo de Arte. This inspired him to show his own work, and he held his first exhibition the following year. Malangatana, like many of his artistic contemporaries, was opposed to the Portuguese colonial government, and joined the nationalist movement FRELIMO (the Front for Liberation of Mozambique). In 1964, he was detained by the PIDE, the Portuguese secret police and imprisoned for two years. This time was to have a profound effect on the artworks he later produced. Post independence, he served as a FRELIMO deputy for four years and later served as a member of the Maputo Municipal Assembly. On Malanganta's death in 2011, the critic H. Cotter commented that the violence and punishment the artist experienced in these years continued to haunt him until the end of his life: "Densely packed with figures, (his paintings) presented lurid, Boschian visions of the Last Judgement and the torments of hell rooted in images related to healing and witchcraft remembered from childhood." Bibliography H. Cotter, 'Malangatana Ngwenya, Mozambican Painter and Poet, Dies at 74', The New York Times, 8 January 2011.
Valente Malangatana Ngwenya -  Exhausted Figures

Valente Malangatana Ngwenya - Exhausted Figures

Original
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Gross Price
Lot number: 21
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Description:
Malangatana Valente Ngwenya (Mozambican, 1936-2011)
A collection of eight works:

1. Exhausted Figures

2. Female Figures

3. Abstract I

4. Abstract II

5. Journey of a people

all signed and dated 1991 - 1997

oil on card

25.5 x 18cm (10 1/16 x 7 1/16in) and smaller

Two drawings:

1. Sem Título (untitled)

2. Embrace

both signed and dated 1991-1997

pen, charcoal and gouache on paper
33 x 25cm (13 x 9 13/16in).

unframed (7)

Sem Título (Untitled)

signed and dated 'Malangatana / 91' (lower right)

oil on canvas
65.5 x 41.5cm (25 13/16 x 16 5/16in).

(8)
Valente Malangatana Ngwenya - Fruits And Fishes

Valente Malangatana Ngwenya - Fruits And Fishes

Original 1967
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Lot number: 47
Other WORKS AT AUCTION
Description:
Malangatana Valente Ngwenya (Mozambican, 1936-2011)

'Fruits and Fishes'
signed and dated '1967 / Malangatana' (lower right); bears William Derry Fine Art Dealers gallery label (verso)
oil on board
100 x 122cm (39 3/8 x 48 1/16in).

Footnotes

Dated 1967, the current lot was painted shortly after Malangatana's release from prison. He had been detained by PIDE, the Portuguese secret police, for his involvement in the liberation movement FRELIMO. Malangatana created a number of works during his 18 month incarceration, and fruit is a recurring theme. Frequently it serves as a backdrop to scenes of sexual fantasy. In
The Prisoner's Dream
(1965), the artist depicts himself caressing a voluptuous female nude. They lie on a bed of fruit; the spherical apples and pears echoing the rounded shape of the woman's breasts. The painting is a clear case of wish fulfilment, a way of relieving the hunger and sexual frustration the artist experienced in his cell. Whilst
Fruits and fishes
is not explicitly sexual, the sheer abundance of the sensually undulating fruit suggests female fertility.

However, this work is not merely an expression of the artist's corporeal desires. The two fish at the centre of the picture appear to reference the Gospel story, 'The Feeding of the 5,000', in which Jesus feeds a multitude on five barley loaves and two small fish. Up to this point, Malangatana's artistic training had consisted of a few evening classes he attended at the Nucleo de Arte. His paintings from this period are therefore largely based on his own experiences or Bible teachings he had heard at mission school.

Later in his career during Mozambique's fifteen year civil war, Malangatana's aesthetic would become more fevered and nightmarish, swarming with devils and beasts. However, even in 1967 there is a tendency to riot and profusion. As critic, Frederico Pereira commented in his essay 'Speaking of Malangatana, Hearing Echoes of Matalana', "the painting, the drawings and the sculpture are without end and do not fit on the canvas".

Literature

Julio Navarro (ed.),
Malangatana Valenta Ngwenya
, (Dar es Salaam, 1998) p.21.
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