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Private Collection Louis and Charlotte Schachat
Soft cover. 48 pages
Muller Ballot
Exhibition of the Private Art Collection of Louis and Charlotte Schachat
Sasol Art Museum of the University of Stellenbosch (Ryneveld Street)
31 May 2 July 2000
A large proportion of these works of art have never been exhibited in public before. In fact, this is precisely one of the reasons why Louis and Charlotte Schachat decided to take this opportunity to show a selection from their private collection, comprising approximately 100 works, to other art lovers and in this way share it with them.
This collection of works of art was started in the early 1960s, shortly after Louis and Charlotte were married and he established himself as an attorney in Cape Town. Various things provided the inspiration for commencing with the collection: their shared interest in contemporary South African art, their regular visits to local exhibitions, personal visits to artists' studios and the encouragement of other collectors such as J du P Scholtz, Jean and Himie Bernadt and gallery directors Joe Wolpe, Linda Givon and Everard Read. Slowly but surely the Schachats began to apply and enjoy their personal preferences and empirical knowledge in shaping their own growing art collection. From the very beginning they began to purchase the works of established artists as well as of young, mostly Cape-based, artists. Hence it came about that works by, for example, Irma Stern, Pranas Domsaitis, Lippy Lipshitz, Cecil Higgs and Jean Welz began to rub shoulders with works by, for example, Stanley Pinker, Paul du Toit, Helmut Starcke and Bill Davis. From the 1970s works by painters and sculptors from the north, such as Robert Hodgins, Christo Coetzee, Karel Nel, Helen Sebidi and William Kentridge, also began to feature in their collection.
This exhibition also provides an occasion for acknowledging the University's gratitude to Louis and Charlotte Schachat for their regular donations of works of art to the University Museum since 1992. Each one of these acquisitions was necessary and each one is important because in each instance the donation satisfied a particular requirement of the University's own art collection.
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