Traditionalist in a Modern Era: Anton van Wouw | Stephan Welz & Co

Anton van Wouw, a sculptor of Dutch origin, left an indelible mark on South African art through his evocative sculptures that captured the essence of the nation’s history, culture, and people. Van Wouw’s small-scale detailed depictions of Boer and African figures have made him a highly collectable artist and his monumental public and state-commissioned sculptures ensured his canonical status within the oeuvre of South African art history.

Born in the Netherlands in 1862, van Wouw’s journey as an artist has its origin in Europe but found its true calling upon his arrival in South Africa. His works, characterised by a blend of classical European techniques and a deep interest for African subjects, remain iconic symbols of South African identity and heritage.

Van Wouw’s artistic journey commenced at the Royal Academy of Art in Amsterdam, where he honed his skills under the tutelage of renowned sculptors. His early work reflects the influence of classical European sculpture, characterised by intricate detail and a deep understanding of form. However, it was his move to South Africa in 1890 that marked a transformative period in his career and personal life.

During his early years on the Highveld, van Wouw focused on architectural decorations, and in 1895 he was awarded a significant commission to create and cast the Paul Kruger Monument for Church Square in Pretoria. This publicly commissioned monument was the first of many and was followed by other commissions from the state and public, such as the Women’s Memorial in Bloemfontein and the Woman and Children grouping at the Voortrekker Monument in Pretoria. After receiving funding from an investment syndicate in 1907, van Wouw started casting his small-scale works, primarily depicting Boer and African figures, which were cast to order by the Giovanni Nisini and Galileo Massa foundries in Rome.

Van Wouw was known for his euro-centric depictions of both African and Afrikaner figures.  His technique and depiction of his subjects were largely considered to be influenced by Western traditions as “Van Wouw was clearly a product of the nineteenth-century European sculptural tradition. The dominant characteristic of this period was realism – life-like beauty of the face and figure in the classical tradition.” (Duffey, 2008:206)

Although van Wouw’s artistic perception aligned with realism, several academics have claimed that there is an idealistic sense of romanticism found within his representation of his subjects (de Jager; 2021). At the time, colonial perceptions of African figures were normalised however, these stereotypes of the ‘other’ can be found within some of van Wouw’s smaller works. A similar criticism was affiliated with this depiction of the “Boer Hero”, as van Wouw’s inclination to idolise these figures demonstrates the influences of his own ideological beliefs. Duffey (2008) believed that these representations were not done with any malicious intent but are rather a reflection of the historical context in which he lived.

Van Wouw was a master of technique and is largely respected for his meticulous attention to detail. It was his ability to capture smaller details within a challenging medium which led to his revered status as an artist. He primarily worked with live models and did not believe in using photographs or drawings to sculpt his subjects. This method aligned with his inclination toward realist practices as he believed this was the only true way to capture the nature of his subjects and the complexity of the human form.

According to Duffey, Shangaan shows “a typical supplicatory posture and it attests to Van Wouw’s keen observation of the various postures of the African miner in early Johannesburg… Conspicuous in the best Italian castings are the distinctness of the frown on the forehead, the protruding mouth, the exact lines of the armband, the well-modelled right thumb and ears and the contrast between the dark patina of the hair on the head and the light brown patina of the rest of the body.”(pg 63)

We see the same defining characteristics and techniques used in capturing the Laughing Basuto. This torso bust demonstrates van Wouw’s real virtuosity as a sculptor depicting a cheerful African man in a moment of spontaneous laughter. The modelling of the teeth and coarseness of the hair is crisp and precise, as are the prominent veins on his right hand. It is this meticulous detail which helps perpetuate van Wouw’s reputation as the father of traditional sculpture in South Africa.

Both Shangaan and the Laughing Basuto will be offered on our upcoming Premium auction in September. Our auction will offer an abundance of collectables that will entice any collector’s curiosity. For any inquiries or condition reports please feel free to contact info@swelco.co.za or cpt@swelco.co.za. If you would like to speak to a specialist about any future consignments or valuations, please call us on 011 880 3125 or 021 794 6461.

De Jager, M. 2021. Anton van Wouw: The smaller works – A Far from Passive Record. Rhodes University, pg. 347 – 351.

Duffey, A.E. 2008. Anton van Wouw: The smaller works. Protea Boekhuis.

Anton van Wouw (South African 1862 – 1945) Shangaan, signed, dated 1907 and inscribed ‘S.A. Johburg’ and foundry ‘G. Massa Rome’ bronze with a brown patina on a wooden base, height: 31cm; width: 21cm; depth: 15,5cm, excluding base.
Est: R400 000 – R600 000

Anton van Wouw (South African 1862 – 1945) The Laughing Basuto, signed, dated 1933, inscribed ‘Joh-burg’ and bears the foundry mark “G. Massa.
Roma”, bronze with a brown patina on a wooden base, height: 32cm; width: 28cm; depth: 26,5cm, excluding base. Est: R250 000 – R350 000

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