Irma Stern: Time|Line

Live Virtual Auction, 8 June 2022

Irma Stern: Time|Line
About the Session
Irma Stern: Time | Line is a single-artist sale of 140 lots devoted to this illustrious artist. The lots on offer range from oil paintings, watercolours, drawings, etchings, ceramics and books and are presented chronologically, featuring works made in every decade from 1920 until the artist’s death in 1966.
 
The auction includes 124 artworks from the Irma Stern Trust Collection. Proceeds from the sale of these works will benefit the Irma Stern Trust Collection, housed in the much-loved Irma Stern Museum in Cape Town. Income derived from the sale will strengthen the Irma Stern Trust Collection for the future by preserving the core collection and making it accessible by developing the existing Irma Stern Trust website into an important research resource. 

Sold for

ZAR 1 593 200
Lot 50
  • Irma Stern; Woman with Open Blouse
  • Irma Stern; Woman with Open Blouse
  • Irma Stern; Woman with Open Blouse
  • Irma Stern; Woman with Open Blouse


Lot Estimate
ZAR 1 500 000 - 2 500 000
Selling Price
Incl. Buyer's Premium & VAT
ZAR 1 593 200

About this Item

South African 1894-1966
Woman with Open Blouse

signed and dated 1948; inscribed with the artist's name on the reverse

oil on canvas
65,5 by 56cm excluding frame

Notes

Stern’s artistic output includes a substantial archive of female nudes spanning the entirety of her prolific five-decade career. An enduring subject, and frequently a site of bold formal experimentation, Stern’s depictions of naked (or nearly naked) female subjects range from her ambitious nudes in oil and gouache to her notational descriptions in ink, pencil, charcoal and wash of studio models and women encountered in the world. The importance of this archive, which includes works in bronze, fired clay, terracotta and cement, was asserted in a 2021 exhibition organised by art historian Michael Godby at the Irma Stern Museum.

“Although somewhat overlooked in the critical literature, and in the market,” Godby writes in an accompanying book, “Stern’s nudes may be counted amongst her most significant work.”1 Stern’s output of nudes was substantially informed by the tradition of the nude in European art. Stern was introduced to the nude – as both compositional problem and genre subject linked to a grand tradition – during her academic training in Berlin, which included life drawing. The Expressionist movement’s contradictory uses of the nude to valorise themes of ugliness and primitivism also informed her early practice.

Notwithstanding Stern’s many stylistic shifts, the nude remained throughout her life, writes Godby, “both a trigger for her practice and her most common subject.”2 With the exception of drawings made during her travels across Southern and Central Africa, and her beach scenes, all Stern’s nudes were painted, drawn or sculpted in her studio.3 The sitters in these studio nudes were chiefly paid models, although friends like Roza van Gelderen (see lot 12) also posed nude. Stern was particularly active in her studio during the 1940s. In 1943, for instance, she worked on material towards an unrealised book of nudes, as well as held a dedicated exhibition of nudes in Cape Town. This lot dates from 1948, another period of intense productivity in the studio matched by later, selective public display.

Stern’s studies of middle-aged white sitters from the 1940s are notable. Godby sees in these “magnificent” and “extraordinarily mature” works the same vigour and iconographic appeal as Stern’s esteemed flower studies of the 1940s.4 They are certainly characterised by remarkable intimacy and, as is clear in this lot, candour. They show a woman seeing another woman without libidinal intent. While dissimilar in some respects to her voluptuous nudes in classical poses, the styling of the woman in this lot, with her blouse unbuttoned, reiterates a recurring strategy in Stern’s nudes of this period. “Almost all of Stern’s nudes of this time include some form of drapery – a cloth around the midriff, underwear, or a drape that the model is either putting on or taking off – all of which draw attention to the nakedness of the exposed figure and so prevent her from being simply an abstract, idealised nude,” informs Godby. “This simple device has the effect of returning the conventional nude to the condition of nakedness and, in a sense, reclaiming the female body from male appropriation.”5


1. Michael Godby (2021) Irma Stern Nudes, 1916–1965, Cape Town: Primavera Publishing, page 11.
2. Ibid, page 143.
3. Ibid, page 63.
4. Ibid, page 149.
5. Ibid, page 37.

Provenance

The Irma Stern Trust Collection, accession number 648.

Exhibited

Irma Stern Museum, Cape Town, Irma Stern Nudes, 1916-1965, 26 May to 2 July 2021.

Literature

Michael Godby (2021) Irma Stern Nudes, 1916-1965, Cape Town: Primavera Publishing, illustrated in colour on page 37, figure 2:26.

View all Irma Stern lots for sale in this auction