Author: admin | Date: April 30, 2014 | Comments Off

Town of Johannesburg in 1912. Over the years the gallery has grown in size and sophistication with the emergence of Johannesburg as Africa’s business and financial capital.
In 1980 the gallery moved from its elegant downtown location to a purpose-built building in the prestigious precinct of Rosebank. The building, an outstanding example of post-modern architecture, has become a much admired landmark. Surrounding a charming 1920′s house, which is the gallery’s administrative centre, is a curvaceous structure comprising sculpture courtyards and four exhibition areas of various proportions with clerestory windows that ensure abundant daylight.

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Everard Read has become synonymous with the finest art emanating from Southern Africa. Many of this region’s most celebrated painters and sculptors, both traditional artists of the past and emerging talent, exhibit with Everard Read which is also the agent for fine artists from elsewhere in the world.

The Directors at Everard Read are ardent conservationists. Our wildlife art department has always been associated with the pre-eminent painters and sculptors in this field.

Transport to and from the gallery from major Johannesburg hotels can be arranged by request.

6 Jellicoe Avenue • Rosebank • Johannesburg • 2196 • South Africa
Tel +27 (0)11 788-4805 Fax +27 (0)11 788-5914
Private Bag 5 • Parklands • 2121 • South Africa
Gallery hours
Monday to Friday 9am to 6pm
Saturday 9am to 4pm

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September 1996. Although the original premises were small, a dynamic gallery was created, designed to maximise the exposure and dissemination of fine contemporary painting and sculpture to a broad audience. The response has been phenomenal from both artists and collectors, and we are now proud and grateful to consider ourselves an important contributor to the already vibrant cultural life of Cape Town.
Building Cape TownIn 1999 we began looking for larger premises, better suited to displaying fine art. We acquired a simple Cape vernacular building with a garden in Portswood Road in the Waterfront precinct, and with renowned South African architect, Revel Fox, transformed it into an elegant, understated gallery replete with sculpture courtyard and custom-designed bronze gates by Guy Du Toit and David Brown.

A close working relationship with our Johannesburg gallery ensures that Cape Town has access to the finest works from abroad and around the sub-continent. We also take particular pride in discovering and sustaining a growing stable of Cape-based artists which we in turn feed to our Johannesburg gallery. Further, a quarter of our gallery houses one of Cape Town’s oldest dealership’s, Louis Schachat’s “Die Kunskamer”, renowned for handling South African masters of last century and some contemporary works. The synergy between the two galleries has proven to enhance the visitors’ experience and appreciation of South African art and we are delighted to be associated with another of South Africa’s great art dealerships.

3 Portswood Road • Victoria and Alfred Waterfront • Cape Town • South Africa • 8002
Telephone: (+27 21) 418 4527/8
Monday to Friday 9am to 6pm
Saturday 9am to 4pm

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Brian Mongezi (Gum) was born in Cape Town on 23rd of September 1970. He attended Jumba High School. He enrolled at the Johannesburg Art Foundation where he received his Diploma in Fine Arts.

Gum has participated in numerous workshops particularly in the Thupelo Regional workshops at SANG, Ammex. He has also worked for the Century Art Gallery in Fordsburg as a Graphic designer. Gum has also participated in mural paintings for local shops, pre-schools and local hairdressers.

1999 Participated in a group show at Artspace
1999 Participated in a group show at SA. National Gallery Annex.
2000 Solo exhibition of mixed media works at the Metropolitan

2000 Received an award for upcoming young artist from

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Born in Malawi in 1946, Pam Guhrs has spent most of her life in one of Africa’s most remote wilderness areas – the Luangwa River Valley in Zambia. Pam’s father, Norman Carr, was the resident game ranger and one of the great characters of the conservation milieu in Southern Africa. Her mother was a gifted writer.

Happily for Pam she grew up fascinated by the extraordinary natural riches that surrounded her. Norman Carr was also sensitive to the needs and aspirations of the surrounding rural population and so his daughter matured with a close feeling of kinship with them. Tribal legends and oral traditions were part of her life and now pervade much of the intellectual process that underpins her painting.

An instinctive draughtsman, Guhrs African creatures meander haphazardly across the canvas. Her predators twitch and grimace in semi darkness, whilst her baboons go about the business of crop raiding under the watchful eyes of dominant males. Playful images and totemic symbols often intrude on her descriptions of a subtle and sometimes violent ecosystem. This alludes to the reality that today no wilderness, however remote, is without any influence from mankind. This tense interface between rural man and true wilderness fascinates Guhrs and it now perhaps forms the central theme that runs through her art.

Mark Read

Author: admin | Date: April 29, 2014 | Comments Off

Jack Vettriano was born in Scotland in 1954. He had no formal art school training. At the age of twenty-one he started to paint in his spare time. It was not until 1989 that he felt confident enough to show any of his work in public and submitted two canvases for the Royal Scottish Academy’s annual exhibition. Both paintings were accepted, hung and sold. The following year three paintings were accepted by The Royal Academy in London for the Summer Exhibition. This public exposure of his paintings led to invitations from various galleries to exhibit his work.

1992 Tales of Love and Other Stories Edinburgh Gallery, Edinburgh
1993 Fallen Angels Catto Gallery, London
1993 Summers Remembered Corrymella Scott Gallery, Newcastle
1994 Chimes at Midnight Portland Gallery, London
1994 After Midnight Everard Read Gallery, Johannesburg
1995 A Date with Fate Edinburgh Festival, Edinburgh
1996 The Passion and the Pain Portland Gallery, London
1996 Halfway to Paradise Portland Gallery at The Museum Annex, Hong Kong
1997 Small Paintings and Studies Portland Gallery at Edinburgh Festival Edinburgh
1998 Between Darkness and Dawn Portland Gallery, London
1999 International 20th Century Arts Fair Portland Gallery at The Armory, New York
2000 Lovers and Other Strangers Portland Gallery, London
2001 International 20th Century Arts Fair Portland Gallery at The Armory, New York
2002 Paintings 1994-2002 Portland Gallery at artLONDON 2002
2003 Limited Edition Silkscreen Prints Portland Gallery, London
2004 Affairs of the Heart Portland Gallery, London

Royal Bank of Scotland plc
Raymond Blanc
Robert Fleming Holdings Ltd
Robbie Coltrane
United Distillers
Mr and Mrs Alan Coren
Maclay, Murray & Spens
A.L. Kennedy
Intercapital Brokers Ltd
David J. Frost
Dickson Minto
Sir Tim Rice
Manoir aux Quat’ Saisons
Valerie Singleton

W. Gordon Smith: “From coal to oil to watercolours,” Scotland on Sunday, 28, 1991.
Scotland on Sunday: “Corporate Investment in a Painter’s Life,” May 1991
Alasdair Riley: “The career that Jack built,” Sunday Express magazine, May 1992.
David Black: “Modern art – the colour of your money,” Scottish Field, August 1992.
Richard Jaques: ”Vettriano captures the emotions of a bygone epoch,” The Scotsman, May 1992.
Barbara Stoeltie: “Schots en Schokklend,” Avenue, April 1993
David Whetstone: “The art of seduction,” The Journal, November 1993.
Anne Sebba: “Jack Vettriano paints the louche underside of life,” Tatler 1993.
W Gordon Smith Ed.: “Fallen Angels,” Pavilion Books, Published October 1 994
Rachel Sim: “Artist in Residence,” Telegraph Magazine, October 1994.
Gillian Ferguson: “Freeze frame images of Fallen Angels,” Sunday Times, November 1994.
Robbie Dunwoodie: “The long goodbye to the rat race,” The Herald Weekend October 1994.
Kathleen Morgan: “Play it again, Jack,” The List, October 1994.
Gillian Glover: “The style that Jack built,” The Scotsman Magazine, November 1994.
Adrian Johnson: “Home is where the art is,” The Scotsman, March 1994.
Alistair McCay: “Jack of one trade,” Scotland on Sunday, August 1995.
Duncan Macmillan: “Nostalgia Okay …” The Scotsman, 22 August 1995.
Aileen Little: “And the drama will now unfold,” The Glasgow Herald, October 1995.
Godfrey Barker: “A Fin de Siecle in Art,” The Daily Telegraph, February Teddy Jamieson: “Love Scenes”, GQ Magazine, June 1996.

“Vettriano has been featured in many radio programmes, including “The Usual Suspects”, “Postscript” and –Midweek” on Radio 4. He was the subject of a Scottish Television “Talking Pictures” documentary by Vivien Hamilton and was also interviewed by Alan Campbell for Scottish Television’s Arts series. He has been a guest on Eve Pollard’s programme “Sky Book Show” for Sky Television and his work was featured in BBC2′s coverage of the 1995 Edinburgh Arts Festival.

Jack Vettriano lives alone in an elegant Georgian house at the heart of Scotland’s capital. Like so much of his work it has a distinctive period element. Painting in a cold north light he relaxed in suggestive candlelight. He is tall and slim, wears suits and braces, and doesn’t like “jeans and trainers and the way young folk dress”. Maybe he is more Italian than he thinks.

Vettriano the technical realist is a finalist. He is of that last generation of victims of the Hollywood dream factory – whose local flea-pits changed the menu of B-movies three times a week. His people are set in some timeless limbo, caught up in crises of their own devising, victims of insistent passion, whipped by winds on sunny beaches, lurking in sinister racecourse shadows, threatened by the consequences of extravagant behaviours, paying dearly for carnal follies.

Chiaroscuro means the expression of light and shade to every painter, but he uses it to coax us into shadows where mysteries are whispered. He is a spinner of webs, an eavesdropper, a voyeur with his own keyhole on life, sees all and judges nothing. His work stalks the fuzzy boundaries between virtue and vice, innocence and corruption. His small tumescent dramas are played out by characters from more soigne times, when what used to be called the libidinous urges of the flesh provoked naughty parables. He is a moralist who preaches only witty, ironic sermons about seduction and betrayal, about guilt and the pincer jaws of love. He is sardonic without malice.

It would be interesting to learn how much Moravia and Simenon he has read, and if Anais Nin costumes his dreams. Does he know the photography of Brassai, and how long has he looked at Sickert and Hopper? If people suggest to him that he paints like other painters – naming names – he shrugs with calculated complacency. He absorbed lessons from Goya (his manipulation of light), Boudin (these blustery beaches), and Cadell and Manet (their homage to elegant woman).

Slowly but surely, and in every canvas with more certainty, he becomes the Vettriano he wants to be. If it is a wonder that he has managed to teach himself drawing, perspective, the manipulation of paint in veiled glazes and haunted shadows, the music of colour and the dramatic focus of composition; it is even more remarkable that he has evolved such an identifiable personal style. Despite his lack of instruction, his own natural accomplishment and master painters have made him obedient to classical techniques and discipline.

There is nothing lascivious or remotely pornographic about the louche eroticism which gives Vettriano’s work such sexual tension. His figurative essays on human frailty are anecdotal, verging on the surrealist. Even when they are fully clothed you know what his ladies look like beneath their silks and satins. Yet nothing is ever entirely what it seems. His clocks might strike 13. In his fin-de-siecle half-world of sinister men and stripped women, wagered bargains are struck and broken. We know that the cheat with the ace of diamonds will get his wicked way. But is the woman ascending from the underground on her way to that furtive consummation in the bedroom? Surely there is more to the chap with the mannequins than the plight of a mere fetishist. And why does shadow or the brim of a hat so prevent us seeing his subject eye-to-eye?

Some of these tales without texts are semi-autobiographical. The background of some beach scenes, green tea-room pavilions, stood in the dunes of his childhood. The reflected images at low tide could be anywhere. But when it comes to his dramatic personae you are invited to write your own script and cast your own actors. And he wonders if people who stop to cast second looks at scenes of temptation and betrayal might betray something about themselves. Let those who say they have not at one time or another contemplated such dalliance, cross their hearts and hope to die.”

copyright W. Gordon Smith, August 1995

“Jack Vettriano has the ability to make you feel nostalgic for things you actually experienced in the first place. He takes you back to a mood and time that you know so well although you were never there. When you first look at one of his paintings you are an outsider, illicitly observing a cool, shy world of edgy romance and sexual tension. The men are tougher than those you know, the women more unavailable. After a while you can see behind confident poses and languid come-ons; these are people no more in control of their destinies than you are of yours. Maybe you have been where Vettriano’s subjects are – it’s just that the lighting and suitcases, beaches and party frocks are different. You are an insider. Maybe the time is here and now.

Jack Vettriano’s paintings make you wonder what will happen next; none are static. Every picture is an episode – in a romance that is about to explode, or in a conquest that is about to be consummated, although who will conquer whom is never clear. He evokes an era of Hollywood, but no film of that town’s heyday was made with Vettriano’s burning colour. Those great movies remain in their time, these paintings are of many times – the clothes and backdrops are beautiful ornaments that could pinpoint a year, but the faces are universal, of any, or of every, of the past fifty years.

In less than ten years Vettriano has moved into the front rank of contemporary artists. Others there (but by no means all) may match his technical skills but he has the much rarer gifts of realism and humour. Human failings and foibles are not portrayed in the easy way, through squalor and loathing of his subject, but rather subtly. His men and women may win through, may come to a sticky end, but either way they will do so with glamour and style. There is hope even in his seediest settings which is why he has accessibility without compromise.”

Tim Rice March 1996
Introduction to “The Passion and the Pain” catalogue, The Portland Gallery, 1996

Author: admin | Date: June 10, 2014 | Comments Off

The thyroid gland has a significant responsibility for all the metabolic processes performed in the body. More precisely, the thyroid releases triiodothyronine (T3) and thyroxine (T4), two hormones that control the metabolism.
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Author: admin | Date: May 17, 2014 | Comments Off

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