Transcription
[Source - Debra Pryor for FHYA, 2020, using Brenthurst catalogue card: JL - C - 23
STAFF: Wooden, the top carved as a woman with a child on her back and carrying an outsize hen on her head,
with pokerwork contrast.
L: 120.3 cms Ht: (of figure) 31.9 cms
(ZULU)]
Published
Nessa Leibhammer using JAG materials
[Source – Nessa Leibhammer for FHYA, 2017: The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, were kept by Nessa Leibhammer in her office during her time as curator at the JAG.
The entire Traditional Collection including Brenthurst has been entered into the City of Johannesburg Star database, a digital record keeping system without images, set up in the early 2000’s. In 2015 SAHRIS funded the digitisation of the entire Traditional Collection including Brenthurst. This is now publicly available via their website http://www.sahra.org.za/sahris/]
[Source - Nessa Leibhammer for FHYA, 2015: Jonathan Lowen is an ex South African living in London. He sourced items from a wide range of places including antique dealers, markets such as Portabello Road, auction sales, etc. The collection was purchased by wealthy Johannesburg businessman and philanthropist, Harry Oppenheimer, and placed on on-term loan with the Johannesburg Art Gallery (JAG) in 1987. (Info from Karel Nel to Nessa Leibhammer, 12 October 2014) See: also Sandra Klopper, ‘South Africa’s Culture of Collecting: The Unofficial History’, African Arts, Winter 2004, 18-24.
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection in the winter of 1983-84. She classified many of the objects as 'Zulu' (sic) simply because of a lack of information about the objects. (Rhoda Rosen citing Sandra Klopper.) The catalogue cards were made by Brenthurst and bear annotations added later.
The two boxes containing Brenthurst catalogue cards compiled by Margret Carey for Jonathan Lowen, went with the Brenthurst collection to the Johannesburg Art Gallery. They were kept by Nessa Leibhammer in her office during her time as curator at the JAG.]
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