The Norval Sovereign African Art Prize 2022 Benefit Auction | Hosted by Sotheby’s

The Norval Sovereign African Art Prize 2022 Benefit Auction | Hosted by Sotheby’s

View full screen - View 1 of Lot 3. TANNE MANNE .

Thania Petersen


No reserve

Lot Closed

February 22, 05:03 PM GMT


7,000 - 10,000 USD

Lot Details


Thania Petersen

South African


Tanne Manne

embroidery thread on cotton fabric and mixed medium in artist's frame

84 by 84cm., 33 by 33in.

framed: 100 by 99cm., 39¼ by 39in.

Please be aware of the Conditions of Sale when bidding. As a benefit auction, there is no buyer’s premium charged. The only additional costs due to the winning bidder are applicable sales tax and shipping. Works auctioned are sold “as is,” and condition reports are included with lot descriptions as available. In-person previews of the auction artwork will be available at Norval Foundation at 4 Steenberg Rd, Tokai, Cape Town, 7945, South Africa from 26 January – 22 February, Monday to Sundays 9 AM – 5:00 PM (Closed on Tuesdays). Please note that while this auction is hosted on, it is being administered by Norval Foundation (“the museum”), and all post-sale matters (inclusive of invoicing and property pickup/shipment) will be handled by the museum. As such, Sotheby’s will share the contact details for the winning bidders with the museum so that they may be in touch directly post-sale.

This work has been kindly donated by the artist

Thania Petersen (b. 1980, South Africa) is an artist whose reference points sit largely in Islam and in creating awareness about its religious, cultural and traditional practices. Threads in her work include the history of colonialist imperialism in Africa, Asia and the Middle East, as well as the social and cultural impact of westernised consumer culture. Her work is also informed by her ‘Cape Malay’ heritage, and the practice of Sufi Islamic religious ceremonies. 


Tanne Manne revises the way we see things, putting into question fictitious meaning and false cultures imposed onto groups of people by other groups of people. Often understood through othering lenses, Petersen uses cultural tropes like the ‘passion gap’ (gap-toothed smiles) situating her work within the context of the Cape Flats in Cape Town and its Cape-Malay community, while memorialising narratives of slave liberation when fleeing slaves would pull out their branded front teeth. Her work looks at food as activism and reciprocal cultural memory. She includes the ‘hertzoggie’ and ‘tweegevreetjie’ cookies in her composition in reference to the 1920s when the ‘‘Cape Malay’’ community was misled by a white politician, General Hertzog, in favour of their votes. The ‘Cape Malay’ community celebrated his election victory by gifting him the ‘hertzoggie’, while his later racist deceit is commemorated through ‘tweegevreetjie’ (two-faced) cookie.