Ephraim Mojalefa Ngatane

Acquired in South Africa by the present owner's parents, thence by direct descent

Examination under ultra violet light reveals a slightly clouded varnish but no signs of retouching or repair. The work would benefit from a light professional cleaning. Otherwise, the work appears to be in good original condition.
"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."

Born in Maseru, Lesotho in 1938, Ephraim Mojalefa Ngatane was known as the ‘Hogarth of the township’. Educated under the tutelage of Cecil Skotnes at the Polly Street Art Centre in Johannesburg, it soon became clear that Ngatane was one of the strongest and most dynamic artists to have ever come out of Johannesburg’s township community.  Coming of age during apartheid, Ngatane’s work focuses on this dark period in South African history and its effects on the black majority.  What separated the artist from his peers is his ability to communicate the hardships of township life whilst also managing to capture small moments of peace and happiness that seemed increasingly few and far between during one of the most violent and divisive periods in South African history.

The artist also became known as a prominent boxer and displayed a keen interest in sports and their role during the apartheid system. Rugby Match is a particularly interesting work as it highlights the parallels during that period between the hardships of being a black artist and the limitations placed on black athletes. Not only were South Africa’s national teams entirely composed of white players, the South African government went so far as to ban or discourage foreign black athletes from touring in South Africa. Segregation in sports, especially in Rugby, became a key point of contention both during apartheid and after the fall of apartheid in 1994. Using bold colours and highly gestural strokes, Ngatane manages to communicate both the physical intensity of rugby as well as the political significance of the sport within a highly fractured society.

Within his more expressive works such as Rugby Match, Ngatane tended to abstract his subjects to the point where he would need to create black grids over the top of his compositions, in order to formally hold them together. Ngatane’s grid is also used to suggest movement as it flows backward behind the figures, giving the illusion that they are falling forward onto the rugby ball.  Tragically, Ephraim Mojalefa Ngatane succumbed to tuberculosis in 1971 at the young age of 33.