1931–1936

Eikebos op Laborie et Picardie/Oak-lined Stream with View of Farm Homestead ca.1931 #

Signed “Naudé” lower left, oil on canvas 35 x 40cm excl.frame; 50 x 54 x 3cm incl.frame. Provenance: given as a wedding present in 1931 by the artist to Henri Louw, who grew up on the farm in the Paarl valley and witnessed the scene being painted in 1908, and thence by descent. Black and white illustration in Henri Louw, Die Pêrel van die Paarl (Paarl, 1988), p.67 (Strauss & Co. lot 183, 17 May 2021).

The confident, multi-coloured brushwork suggests that Naudé may well have completed this work later than the more blended brushstrokes of 1908:

It is interesting to note the grove of stone seed pines in the background which must have appealed to Naudé’s awareness of his Huguenot roots.78 Henri Louw remembered accompanying the artist as he explored the farm, recalling how Naudé remarked that it was the most beautiful valley he had ever seen. The Louw family regularly visited Onrus River from 1897 where they met Naudé, resulting in a close friendship. Naudé frequently visited their wine farm “Laborie et Picardie” and painted a Portrait of the winemaker TJ Louw in the technique learnt during his Munich studies, but with his characteristic focus on the eyes:79

Seascape at Kleinmond circa 1931 #

Signed “Naudé” lower left, oil on board 24.5 x 34.5cm/9.6 x 13.6in. excl.frame. Provenance: a gift from the artist in 1931 to current owner’s mother (Strauss & Co. lot 125, 11 October 2010).

Worcester Landscape circa 1931 #

Signed “Naudé” lower right, oil on board 24.5 x 34.5cm excl.frame. Provenance: a gift from the artist in 1931 to the current owner’s mother (Strauss & Co. lot 132, 11 October 2010).

Karoo 1931 #

Signed “Naudé” lower left; dated and inscribed with the artist’s name and the title on the reverse, oil on board 25 x 35cm excl.frame; 41.5 x 51.5 x 2cm incl.frame (Strauss & Co. lot 91, 26 May 2026).

Namaqualand Flowers before May 1932 #

Signed “Naudé” lower right, oil on board 28 x 38.5cm excl.frame; 43 x 54 x 4cm incl.frame. Provenance: gifted by the artist to the previous owners, Worcester in May 1932 and thence by descent to the current owner in 2022 (Strauss & Co. lot 167, 16 September 2025 and lot 38, 12 May 2025).

Tulbagh 1933 #

Unsigned and undated pencil on paper 21 x 17cm in Adèle Naudé, p.40 lower half of Fig.22 Page from a sketchbook at Iziko Museum, Cape Town.

Possible sketches for “La Cotte” Wine Cellar 1934:**

“Perspectives 1928” (Carmen Welz) #

Many Thanks to Carmen Welz for emailing this photo to the author in October 2020.
1923 sketch book resized from Carmen Welz.
Etching “Keller trap/Loft staircase” signed “Hugo Naudé” lower right, inscribed with the title “Keller Trap” lower left in pencil, 17 x 12.5cm; 36.5 x 30 x 2.5cm incl.frame (Strauss & Co. lot 146, 8 June 2019 Johannesburg).
Etching at the Hugo Naudé House in the glass case which is the other way round.

Wine Cellar “La Cotte” Farm, Franschhoek 1934 #

Signed “H.N.” lower right, oil on board 20 x 15cm (Roets, p.183 App.B no.75 & p.122, n.236). Painted for the former owner of “La Cotte” farm in 1934. The Huguenot Memorial Museum purchased the “La Cotte” paintings in 1994 (SAADA). In 2025 they were reported stolen (email from Crisben February, Huguenot Memorial Museum Assistant, October 2025).80

Possible study for “La Cotte” Watermill 1934

Unsigned and undated pencil on paper 21 x 17cm in Adèle Naudé, p.40 Fig.22 top half of the page from a sketchbook at Iziko Museum, Cape Town.

“La Cotte” watermill 1934 #

Signed “H.N.” lower right, oil on board 20 x 15cm (Roets, p.183, App.B no.71 & pp.121-2 + n.235).

Mitchell’s Pass Turneresque Sketchbook 1935 #

Many Thanks to Carmen Welz for emailing photo to the author in October 2020.

Pencil sketch dated 31.5.35 Cogman’s Kloof #

Many Thanks to Carmen Welz for emailing photo to the author in October 2020.

It looks more like a sketch for the painting which artnet dated as 1918:

Kogman’s Kloof, Montagu 1918 #

Signed “Naudé” lower left, oil on board 24.5 x 29cm (Artnet, 29 November 1994).

There is a later painting of this mountain pass at the Studio which does not correspond with this 1935 sketch:

Kogmanskloof #

Signed “Naudé” lower left, oil on plywood 40 x 30cm in the Hugo Naudé Studio (Roets, p.184 App.B no.86. HNH cat.no.48 has measurements 29 x 39,5cm). Illustrated in the 1988 KWV calender.

Interestingly, Jan Ernst Abraham Volschenk did a painting of the same scene:

The Road in Cogmanskloof, Montagu 1925 #

Signed and dated with title inscribed on the reverse, oil on canvas 59.5 x 65cm excl.frame; 79 x 84 x 3cm incl.frame (Strauss & Co. lot 404, 11 April 2021).

Perspective sketch Hex River Valley Keeromberg in background 1935 #

Image kindly emailed to the author by Carmen Welz in October 2020.

Probably the sketch for A View of the Hex River Valley:

Signed “Naudé” lower right, oil on artist board 28 x 39cm/11 x 15.4in (Stephan Welz & Co. lot 597, sale around 2011).

Or a study for the following paintings?

Hex River Valley #

Signed “Naudé” lower right, oil on canvas 51.5 x 62cm (Aspire Art Auctions lot 21, 12 November 2017 Johannesburg).

Cape Mountains #

Signed “Naudé” lower right, oil on board 34 x 39cm excl.frame; 58 x 63 x 7cm incl.frame (Strauss & Co. lot 193, 26 September 2016).

Waterkloof etching #

Signed “Naudé” lower right, oil on canvas 58.5 x 43cm.

Or the painting Naudé posed with, on his easel:

“The Artist in his Studio” photo opening the Hugo Naudé Art Centre fundraising brochure issued by the Hugo Naudé Association, Worcester. No details for the painting yet. It’s framed already, therefore finished and chosen by the Artist to display.

Or Hex River, “Ben Heatlie” [Keeromberg] in background

No details for this video image. Thus titled in Die Kunskamer Exhibition June 1991 cat. no.43.

Or the painting on Naudé’s easel in The Studio on 26 June 2019, Hex River, Keerom Mountains

Signed “Naudé” lower right, oil on canvas 49 x 57.5cm (HNH later printout cat.no.11). It is obvious why it should be named “Keeromberg”/”Turn-back-mountain”!

The Hex River, Worcester 1935 #

Signed “Naudé” lower right, oil on canvas 58.5 x 48.5cm excl.frame. Notes: preliminary pencil drawings for this painting appear in a sketch book belonging to the artist, from his studio in Worcester dated June 1935 (Strauss & Co. lot 217, 20 May 2013).

An almost identical painting is reproduced in black and white in the blue fundraising brochure for the Hugo Naudé Art Centre:

No painting details yet (photo opposite bladsy ses of the Afrikaans section in the undated brochure issued by the Hugo Naudé Association. The painting belonged to his godson, Mr J.R. [Jacobus Roelof] du Toit, son of Catherine, the Artist’s sister).

Perspective of the Palmiet River scene in 1935 sketch book 2 #

Many Thanks to Carmen Welz for sending this photo to the author in October 2020.

This is possibly a sketch for Palmietrivier

Signed “Naudé” lower right, oil on board 24 x 34cm/9.6 x 13.4in (artnet gives this painting the title Panorama, Port St. Johns). Die Kunskamer Exhibition June 1991 cat.no.71 calls it Palmietrivier. See also River Scene in the Transkei (artnet) which is the Palmiet River, in Part 3’s overview, similar scenes.

Or a sketch for Palmiet River with its later, very bold brush strokes

Signed “Naudé” lower right, oil on panel 24.5 x 34cm/9.6 x 13.4in. excl.frame (Strauss & Co. lot 536, 15 October 2018, Cape Town).

Old Harbour, Hermanus, circa 1935/6 #

Signed “Naudé” lower right, oil on canvas 39 x 54.5cm excl.frame (Strauss & Co. lot 594, 13 October 2014, Cape Town and lot 424, 8 October 2012, Cape Town).

Initially I dated this painting according to the same scene on an Old Hermanus Museum postcard dated “circa 1925”:81

But Attwellthea Marthinus, Curator at the Old Harbour Museum, forwarded my enquiry to Marinda Wilmans, the Collections & Research Assistant, who pointed out the cement gutting tables in the painting which were built during 1935/36 to replace the free-standing wooden tables which were initially used:82

Old Harbour Museum, Hermanus photo NDA O5 Fish Cleaning. Many Thanks to Marinda Wilmans, for sending this photo to the author 22 August 2024.

Jacob Hendrik Pierneef, using “artistic privilege”, painted this Old Harbour Hermanus still with wooden gutting tables in 1949:

Previous Next


  1. See Chapter 4, forthcoming.↩︎
  2. See Chapter 2 part 3: Overview.↩︎
  3. The old wine cellar and watermill below “is still to be seen on the farm “La Cotte”, Franschhoek” (author’s translation of Roets, p.122), where the Artist stayed with his step-grandparents Anna Francina and Abraham Paul Hugo during his school years. He later painted several views of Franschhoek from this farm – see similar scenes in the Overview, forthcoming. This farm was settled in 1694 by Jean Gardiol and named after La Coste in Provence from where he emigrated. The present T-shaped house is dated 1844 but the gables have disappeared. “On the same farm is a house named De Eike, with a main gable dated 1839, saved from a fire which destroyed the rest of the building (C. de Bosdari, Cape Dutch Houses and Farms, their Architecture and History A.A. Balkema, Cape Town/Amsterdam, 1953, pp.82-3).↩︎
  4. Many Thanks to my late aunt Neeltje Naudé who sent me this postcard 27 April 1981 – she tragically drowned here many years later, on 24 March 1990, when her friend’s car parked at the Old Harbour rolled into the sea. See part 3 of this chapter for a similar scene with different paint application at The Studio.↩︎
  5. Email of 20 August 2024. Many Thanks to them for their assistance and helpful information.↩︎