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Alexis Preller

South Africa (1911 -  1975 )
PRELLER Alexis Three Benin Figures

Strauss Co.
Nov 9, 2015
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Along with Alexis Preller, our clients also searched for the following authors:
Jack Pohl, Edward Roworth, Clarence Montfort Gihon, Gustave Alaux, Hans Heysen, Benito Rebolledo Correa, Norman Wilkinson
Artworks in Arcadja
180

Some works of Alexis Preller

Extracted between 180 works in the catalog of Arcadja
Alexis Preller - Fish God

Alexis Preller - Fish God

Original
Estimate:

Price:

Lot number: 11
Other WORKS AT AUCTION
Description:
Alexis Preller (South African, 1911-1975) Fish God wood 119 x 23 x 25cm (46 7/8 x 9 1/16 x 9 13/16in). Footnotes Provenance Acquired from the artist by Dr Cyril M. Ross circa 1967-68; By direct descent to the current owner. The above work was acquired by Cyril Ross, who had assembled a large collection of Preller's work in Pretoria. The work was titled "The Fish God" by the artist, though Preller often referred to it as "Joe" as it bore a likeness to a friend of the same name.
Alexis Preller - The Storm/the Mapogga Woman

Alexis Preller - The Storm/the Mapogga Woman

Original 1949
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Price:

Net Price
Lot number: 279
Other WORKS AT AUCTION
Description:
Description: Alexis Preller South African 1911-1975 The Storm/The Mapogga Woman signed and dated '49; inscribed with the artist's name, the title 'The Mapog Woman', 'Retrospective', and the name of the owner at the time 'Mr R.A. Bernardi' on a Pretoria Art Museum label adhered to the reverse oil on canvas board 29,5 by 24,5cm
Alexis Preller -  Native Study

Alexis Preller - Native Study

Original
Estimate:

Price:

Lot number: 10
Other WORKS AT AUCTION
Description:
Alexis Preller (South African, 1911-1975) Native study signed 'Preller' (lower right) oil on canvas 51 x 41cm (20 1/16 x 16 1/8in). Footnotes Provenance Private collection, USA. Although it is undated, Native study is stylistically consistent with Alexis Preller's early work and was most likely executed in the mid-1930s. This was a period of great artistic change in South Africa, as the principles of modernism began to cross over from Europe. Geographically distant to the centres of artistic innovation, London and Paris, the South African art establishment was inherently conservative. Painters who embraced the aesthetic changes were harshly criticized and continued to divide opinion well into the 1930s. The 1936 Empire exhibition in Johannesburg was a watershed moment. For the first time artworks in "the so-called 'modern' styles" were submitted for display. It was an open acknowledgement that these paintings were worthy of attention. Amongst the 117 works selected was a Native Study (Mapogges) by Preller. Following this success, Preller held a number of solo exhibitions later that year. His works found favour with the art establishment. The father of South African landscape painting, J.H. Pierneef, was so impressed that he purchased two compositions. Preller's modernist paintings were perhaps embraced more readily than the works of his contemporaries because they were not shallow imitations of the art being produced in Europe. He knew that artists like Picasso were heavily indebted to African art and crafts. His own works explore this dynamic, constantly drawing on traditional images and motifs. In the early 1930s, Preller had spent time amongst the South Ndebele peoples in Pretoria. He was enthralled by the colourful, geometric patterns of their textiles and skilled beadwork. The current lot, a sensitive portrait of a native woman, demonstrates the artist's desire to celebrate traditional ways of life. The painting also reveals the influence of fellow South African modernists, Irma Stern and Maggie Laubser. The 'native' subject was a favourite of Stern's, whilst the bold, flat areas of colour are characteristic of Laubser. The palette that Preller employs in this study is deeper and broader than that of his late work. For Berman and Nel, much of the power of Preller's early paintings is derived from his use of colour: "The artist's first love is colour. Contrasting sometimes pleasantly, sometimes harshly, sometimes startlingly, it is always lavish, flamboyant. On this occasion his colour choice and treatment is not only unorthodox, it is at times almost astounding in its revolutionary character." Bibliography E. Berman & K. Nel, Alexis Preller, a Visual Biography: Africa, the Sun and Shadows, (Johannesburg, 2009), pp. 28, 47.
Alexis Preller - Breying The Riems

Alexis Preller - Breying The Riems

Original 1935
Estimate:

Price:

Gross Price
Lot number: 215
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Description:
Alexis Preller Breying The Riems signed and dated '35 oil on canvas 61 by 46cm

Provenance:

Purchased directly from the artist and thence by descent.

Literature:

Esme Berman and Karel Nel. (2009) Alexis Preller: Africa, the Sun and Shadows and Alexis Preller: Collected Images. Saxonwold, Johannesburg. Shelf Publishing. Illustrated in colour on page 29.
Alexis Preller - Three Benin Figures

Alexis Preller - Three Benin Figures

Original
Estimate:

Price:

Net Price
Lot number: 109
Other WORKS AT AUCTION
Description:
Description:

Alexis Preller,

Three Benin Figures,

signed on the

reverse, oil on canvas laid down on panel, 15 by 20cm
Provenance:

Acquired directly from Joan Hoather,

Gainsborough Gallery,

Johannesburg
Literature:

Berman,

Esmé and Nel,

Karel. (2009) Alexis Preller: Africa,

the Sun and Shadows,

Johannesburg: Shelf Publishing. The carved Benin Figure illustrated on page 289.Berman,

Esmé and Nel,

Karel. (2009) Alexis Preller: Collected Images,

Johannesburg: Shelf Publishing. A photograph of the artist's Ygdrasil studio with the carved Benin Figures illustrated on page 53.
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