MALANGATANA NGWENYA | MATALANA
titled and dated 8-3-70 (upper left); signed and dated 8-3-70 (lower right)
oil on canvas
97.1 by 57.7cm., 38¼ by 22¾in.
Please note that there appears to be three light dents to the canvas two of which are located approximately 2cm from the upper right hand framing edge, and the third approximately 2cm from the center of the lower framing edge. There appears to be some very light white fibers adhered to the surface of the work within the lower half of the painting.These appear to be easily removable. Further minor area within the upper right hand quadrant that exhibits some darker fibers. Overall the work appears to be very good to excellent condition.
Inspection under UV Light reveals no signs of restoration or repair.
This work is framed.
Please note that the tones in the catalogue illustration appear to be slightly darker, particularly within the figure, whose skin exhibits more of a red undertone.
Please telephone the department on +44 (0) 207 293 6323 or email firstname.lastname@example.org
"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."
Private Collection, USA
New York City, Skoto Gallery, Summer Group Show, 2012
Malangatana was born to a poor family in the rural village of Matalana in southern Portuguese Mozambique. His father was a mine worker in South Africa and was mostly absent, so as a child he helped his mother, a traditional healer, teeth sharpener and tattooist, to make ends meet by herding animals on farms. His childhood fascination with his mother’s work is echoed in the teeth and claws that populate his mature art. Painted at the height of the Mozambican War of Independence (1964–1974), the female figure in this rare early painting may have been inspired by the artist’s mother, and hints at the suffering and hardship endured by ordinary people under the oppressive colonial rule.