Christo Coetzee

Perosa Art Gallery, Ceres
Acquired from the above from the present owner

The work is executed on board. There is some wear and associated surface loss to the corners of the work. There are also nail holes to the four corners of the work where the board has been fixed to its frame. The work exhibits an older varnish which has yellowed, presumably due to age. Examination under ultraviolet light reveals no signs of restoration or repair. The work appears to be in good overall condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Coetzee attended the University of Witwatersrand from 1947 until 1950 before moving to London to earn his post-graduate degree at the Slade School of Art under the tutelage of Professor William Coldstream.

Coetzee’s experience overseas enabled the artist to become familiar with the international art scenes of London, Paris and Japan, as he exhibited works at renowned venues within each city. Following a career spent largely outside South Africa, Coetzee’s works were scarce in his country of origin prior to his 2001 exhibition, Christo Coetzee: Paintings from London and Paris 1954-1964 in Cape Town and Johannesburg.

In 1953 Coetzee met art collector, Anthony Denney, marking the beginning of a friendship that would prove to be very fruitful for the young artist, as Denny was instrumental in Coetzee’s introduction to the London art scene as well as the artist’s first solo exhibition in 1955 at the Hanover Gallery in London. Denny would go on to introduce Coetzee to Michel Tapié, a French art critic, who would mentor Coetzee during the ten years he resided in Paris, introducing him to artists such as Jean Dubuffet, Yves Klein and Lucio Fontana. Despite Coetzee’s great appreciation for European art, one of his most important influences would be the avant-garde Japanese Gutai Group, whom the artist came across during his travels to Asia.

It was Coetzee’s exposure to these various artistic movements taking hold in London, Paris and Japan in the mid to late 20th-century that greatly and collectively influenced the artist’s work. Produced in 1986, Boy with Trumpet is a beautiful example of Coetzee’s neo-baroque and avant-garde style and epitomizes the confluence of Coetzee’s multi-national influences.