Published
Nessa Leibhammer using JAG materials
[Source - Chloe Rushovich for FHYA, 2018: File contains an object identified by Nessa Leibhammer using JAG materials as a 'snuff-spoon' acquired by Harry Oppenheimer for the Brenthurst Library from Jonathan Lowen. The Brenthurst Collection is on long term loan to the Johannesburg Art Gallery.
[Source - Nessa Leibhammer for FHYA, 2015: Accession numbers had already been allocated to the objects in the collection before it was sold to Harry Oppenheimer and the numbering system was retained by JAG: the initials JL stand for ‘Jonathan Lowen’; the following number indicates which type grouping the object falls into: A – Figure; B –Doll; C – Staff; D – Stool; E – Headrest; F – Smoking-pipe; G – Snuff-box; H – Snuff-spoon; J - Vessel wood; K - Vessel clay; L – Vessel gourd; N – Spoon; P – Earplugs, hairpins, anklets etc; R – Club; S – Knives; U – Beadwork; W – Apron; X - Miscellaneous. The numeral(s) that follow are the number of the item within the grouping. These accession numbers are distinct from the numbers given to objects owned by the JAG.]
[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.]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 15,6 x 1,8 x 0,6; North Nguni/South Nguni; JL-H-9]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 15,6 x 1,8 x 0,6 cm Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: 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.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection 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.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Additional information
[Source - Sarah Schaefer for FHYA, 2020, transcription of the Brenthurst catalogue, 'Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art', produced by the Johannesburg Art Gallery, 1991: Snuff-spoon; bone, pigment; 15,6 x 1,8 x 0,6; North Nguni/South Nguni; JL-H-9]
Physical characteristics
[Source - Brenthurst Catalogue Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art produced by the Johannesburg Art Gallery, 1991. Subsequent to this the collection has been entered onto the CoJ Star database using the Brenthurst Catalogue as the reference: Dimensions: 15,6 x 1,8 x 0,6 cm Material: Bone, pigment]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: 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.]
Attributions and conjectures
[Source - Nessa Leibhammer for FHYA, 2017: Comments on classification: In his ‘A Preliminary Survey of the Bantu Tribes of South Africa’, Union of South Africa, Department of Native Affairs, Ethnological Publications, Vol. 5, Pretoria, Government Printer, (1935): 7, 70-83, national government ethnologist, Nicholas Van Warmelo did not use the term “North Nguni”. He grouped people living both north and south of the Thukela, under one umbrella term, “Natal Nguni”, based on linguistic affinity. His classification was adapted by the ethnology curator, Margaret Shaw, in her 1958 “System of Cataloguing Ethnographic Material in Museums” which determined that items from the region were to be classified as “Natal Nguni: Zulu and others (not differentiated).” According to art historian, Anitra Nettleton, the classificatory system used by art galleries and museum shifted from Shaw’s model to the one where “Natal Nguni” fell away and was replaced by “North/Northern Nguni” for KwaZulu-Natal and Swaziland because scholars found it difficult to distinguish items from adjacent areas, or emmigrant people from those from the KZN region. Scholars working with the JAG materials used broad ethno-linguistic categories (Zulu, Xhosa, Tsonga, Shona, Sotho, Tswana) to identify the makers/users of the objects, all of which came to JAG without much by way of provenance, and identification was based on factors such as object type, materials, formal composition, style and surface patterning (emails A. Nettleton to N. Leibhammer, 25 and 28 November 2014).
Jonathan Lowen employed Margaret Carey, a British ethnologist, to catalogue his collection 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.)
For an extended version of this note on JAG classification see: 'JAG Classification Note' in Additional Resources]
Published
[Source - Nessa Leibhammer for FHYA, 2015, using Brenthurst materials and JAG records: Snuff-spoon]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - H - 9 & 10
SNUFF-SPOONS: Bone, similar to JL - H - 8, with almond-shaped bowls and sweat-scraper handles with black incised ornament.
JL-H-9 L: 15.5 cms
JL-H-10 L: 10.9 cms
(CAPE NGUNI or TRANSKEI)
cf. Ann. S.A. Mus. vol 70 pt. 2 fig. 8
PICTURE SEE JL - H - 7+8
S/N Nguni (AN + RB) (handwritten annotation)
Published
[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/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Transcription
[Source - Sarah Schaefer for FHYA, 2020, using Brenthurst catalogue card: JL - H - 7 & 8
SNUFF-SPOONS: Bone, with almond-shaped bowls and handles ending in seat-scraper. H 7 is decorated with incised pattern in red and black; H 8 is in black only.
JL-H-7 L: 15.5 cms
JL-H-* L: 17.2 cms
(CAPE NGUNI or TRANSKEI)
cf. Ann. S.A. Mus vol 70 pt. 2 fig. 8
N/S Nguni (AN + RB) (handwritten annotation)]
Published
[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/]
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst Collection: From Lowen Collection: 11/1A VOL 1 10/58; 11/1A VOL 2: Art & Ambiguity. Vol 1: Correspondence Reports 10/58'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-collection-from-lowen-collection-11-1a-vol-1-10-58-11-1a-vol-2-art-ambiguity-vol-1-correspondence-reports-10-58
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Spine of 'JAG Archives: Traditional Collection: Brenthurst References'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/jag-archives-traditional-collection-brenthurst-references
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.
Published
[Source - Debra Pryor for FHYA, 2020, using JAG materials: Title page of 'Traditional Collection: M.Stevenson'. To view the full record click the link in the Associated materials field below.]
[Source - Carolyn Hamilton for FHYA, 2018: Nessa Leibhammer identified Johannesburg Art Gallery records pertinent to each of the items which she selected for the FHYA. These comprise her selection of extracts from accession registers, correspondence and other records. The FHYA reproduces these records in the form that she elected to assemble them. Researchers interested in the exact contexts from which she extracted these records can follow this up through the Johannesburg Art Gallery https://friendsofjag.org]
https://fhya.org/traditional-collection-michael-stevenson
Creative Commons License: CC BY-NC-ND
https://creativecommons.org/licenses/by-nc-nd/3.0/
Unless otherwise stated the copyright of all material on the FHYA resides with the contributing institution/custodian.