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Lot Essay
There is a pencil sketch of the scene by Baines in the Transvaal Archives, Pretoria (Andersson Collection), reproduced in J.P.R. Wallis, Thomas Baines His life and explorations in South Africa, Rhodesia and Australia, Cape Town, 1976, p.150: 'Returning to Otjimbingue, Andersson went on to meet his Damara host at Davitjob and thither Baines followed the next day, Chapman, whose plans had come to nothing, accompanying him. A pencil sketch of the scene, with the Rhenish missionary haranguing the native warriors before they set out, the artist afterwards worked up into a most striking picture while he awaited the issue of the enterprise.' The pencil sketch, less developed than the final picture, is titled 'Mr Hahn addressing the Damaras at Dabbie Choap, June 6 1864'.
Baines's sketch and subsequent painting mark the occasion shortly after Andersson had formalised the alliance with the OvaHerero (Damaras) and became their Chief and Military Commander in June 1864, on the eve of their second great offensive against the Namaqua (Afrikaners):
'So he went forth, to the sound of guns that proclaimed him absolute lord of the Damaras. ... Andersson was a sick man when he set out from Otjimbengue. He was afflicted with ophthalmia, rheumatism racked him and on the eve of his going he was delirious with fever. But he held on. After a brief march he halted at Davitjob where Hahn visited him. Baines and James Chapman came too, and the artist made a pencil sketch of the ensuing episode to elaborate it later into one of his most effective paintings. ... From the footboard of Andersson's waggon the missionary addressed the warriors ranged before him. He expounded to them their obligation of steadfast loyalty to their leader and the significance of the flag that drooped over Andersson's head as he sat beside the speaker, his eye wandering over their picturesque ranks and his thoughts occupied with the task ahead of him.' (J.P.R. Wallis, Fortune my Foe The Story of Charles John Andersson African Explorer (1827-1867), London, 1936, pp.320-21)
In the absence of photographs, Thomas Baines’ sketches and paintings have provided an invaluable record of the colonial frontier as it expanded into the hinterland of southern Africa. This painting is no exception: it depicts a poignant moment at the point of conflict and competition for resources as missionaries and traders expanded their areas of influence in Namibia. The missionary Carl Hugo Hahn takes centre stage alongside significant traders Charles John (Carl Johann) Andersson and Frederick Thomas Green with Chief Kamaherero (Maharero), one of the most important Namibian leaders of the 19th Century. These were key figures in the history of Namibia. In addition, the painting records the development of colonial organizations such as the short-lived ‘Otjimbingwe British Volunteer Artillery’, which united under the symbolic banner of its own flag (with an interesting oblique reference to the rivalry for Africa between European nations). Baines has placed Damara Herero warriors prominently in the foreground of the painting, many with red ochre hair, various items of weaponry and traditional attire and others in western dress with wide brimmed hats signifying the process of transition and change experienced by African societies. A Herero woman wearing the unique ekori headdress with the mantle of tubular iron beads draped down her back is also depicted in the foreground.
Baines's painting captures a key moment in the 1860s conflict between the Namaqua (/Hoa/araman Oorlams Afrikaners) and the Damara (Herero) over control of cattle, grazing land and trade. The conflict between the feuding groups is referred to variously as the Nama-Herero, Oorlams-Herero, Nama-Ovaherero and sometimes simply as ‘Andersson’s War'. Although the caption of the picture refers to the warriors as being "Damara", they were actually OvaHerero. This wide-spread confusion stemmed from the misconception of 19th century European missionaries and traders, who referred to the OvaHerero with their large cattle-herds as "Damara" or "Cattle-Damara", while they called the real Damara "Berg-Damara", as they mostly lived in the mountains. The conflict was complicated by the fact that the /Hoa/araman (Namaqua) had treated the OvaHerero as vassal subjects from who they extracted tribute, but this relationship altered when the OvaHerero moved to the vicinity of Otjimbingwe under the protection of the resident traders and missionaries. A battle between the groups had occurred on 15 June 1863 in which the Namaqua Chief Christian Afrikaner was killed following his unsuccessful attack on the settlement. However, tension in the area remained high to the extent that normal trading and hunting activities had been brought to a standstill resulting in financial and economic losses for the hunter traders. Andersson, who faced financial ruin, decided to end the impasse by forming an alliance with Chief Maharero (also referred to as Kamaherero) and had mobilized some 1,600 OvaHerero (Damara) to form a commando, which went by the grandiose name of the ‘Otjimbingwe British Volunteer Artillery’ with the motto ‘Defence, not Defiance’. Although Baines tried to broker peace between the feuding groups, he helped Andersson in practical ways to mount two cannon on wagon wheels and to build a redoubt to defend the trading settlement. In addition, he drew up a drill manual and composed an anthem based on the lyrics of ‘Britannia, the pride of the ocean’:
With the tribes that in warfare surround us,
Nor strife nor contention we seek:
But threaten the loved ones around us
And our cannon in thunder shall speak
This painting shows the meeting between the traders and the OvaHerero (Damara) at Davitjob, spelt phonetically by Baines as ‘Dabby Choup’, situated to the south of Otjimbingwe. The Reverend Carl Hahn, often mentioned by his second name Hugo, is shown rallying the Damara chiefs and the motley commando, the Otjimbingwe British Volunteer Artillery, from the ox-wagon. He is dressed in a black suit and seated next to him is Andersson. Baines designed the Damaraland flag that can be seen unfurled above the wagon. Reminiscent of the Union Jack, the flag was a red cross on a blue field with a white four pointed star behind it. Baines shows himself loyally wearing a blue shirt (rather than his usual white one) with a red, white and blue bandana round his hat while he holds up the second Damaraland flag made by Mrs Andersson. Standing next to the wagon is a distinctive man in a blue shirt and this is more than likely the alliance partner Maherero, one of the most powerful local 19th century leaders. Hahn’s wife, Sarah Emma, is one of the women shown seated close to the wagon and the other is possibly the wife of the blacksmith Johann Karl Edward Halbich, Friederike Amalie. (Mrs Andersson had returned to the Cape by this stage.) Seated next to the women is the renowned Anglo-Canadian elephant hunter Frederick Thomas Green, who worked closely with Andersson. Green had recently led an overland cattle train headed for the Cape market on Andersson’s behalf, but lost everything when ambushed by the Namaqua south of Windhoek near Rehoboth and was lucky to escape with this life. This gave cause for retaliation. Evidently, Chapman was also present at this meeting.
Baines has placed a group of Damara Herero warriors prominently to the foreground of the painting, with red ochre hair, various items of weaponry and traditional attire while others are seated in semi-circle some in western dress with wide brimmed hats. A OvaHerero woman wearing the unique ekori headdress, to signifying her married status, with the mantle of tubular iron beads draped down her back is depicted in the foreground. It is most probably Kataree, who was the head wife of Chief Maharero. Kataree, as the head wife of Maharero, was, like all head wives of OvaHerero chiefs, referred to as omurangere. In this capacity she kept the sacred fire burning in her house at night and took it outside to be rekindled every morning. At the fire she tasted the freshly acquired milk from the sacred cows and only afterwards it was ready for consumption by other family members as well. The objects painted around her depict the vessels, the gourd and basket, used for the milk and to perform other ancestral duties. They were also kept in her house and never allowed to be washed. It has been suggested the she would have brought with her embers from the sacred fire (okuruwo) to bury in the soil, which she picked up from the spot where her husband stood in order to bring good luck to him in preparation for the impending battle.
Following this occasion, the Otjimbingwe Volunteer Artillery led by their Commander-in-Chief, Andersson attacked and defeated the Namaqua, led by Christian’s son Jan Jonker, near Windhoek on the 22 June 1864 bringing to an end their domination of the region. Hahn was to broker a peaceful agreement between Kamaherero and Jonker in 1870. However, Andersson, who was hit by five bullets during the 1864 battle, one of which shattered his right leg, was crippled for life. Baines took great care of Andersson while he recuperated at Barmen (near Okahandja). It was during this time that Baines provided the illustrations for Andersson’s Notes on the birds of Damaraland and the adjacent countries of South-West Africa. Despite his efforts, Andersson’s financial difficulties persisted and he sold his Otjimbingwe establishment to the Hahn’s Rhenish Mission later in 1864. At the end of October, Baines returned to the Cape to great acclaim for his Victoria Falls paintings. At the same time his mother had arranged the publication of his Explorations in South-West Africa: Being an account of a journey in the years 1861 and 1862 from Walvisch Bay, on the Western Coast to Lake Ngami and the Victoria Falls. This marked a high point in Baines’s career as an artist-explorer.
Baines's sketch and subsequent painting mark the occasion shortly after Andersson had formalised the alliance with the OvaHerero (Damaras) and became their Chief and Military Commander in June 1864, on the eve of their second great offensive against the Namaqua (Afrikaners):
'So he went forth, to the sound of guns that proclaimed him absolute lord of the Damaras. ... Andersson was a sick man when he set out from Otjimbengue. He was afflicted with ophthalmia, rheumatism racked him and on the eve of his going he was delirious with fever. But he held on. After a brief march he halted at Davitjob where Hahn visited him. Baines and James Chapman came too, and the artist made a pencil sketch of the ensuing episode to elaborate it later into one of his most effective paintings. ... From the footboard of Andersson's waggon the missionary addressed the warriors ranged before him. He expounded to them their obligation of steadfast loyalty to their leader and the significance of the flag that drooped over Andersson's head as he sat beside the speaker, his eye wandering over their picturesque ranks and his thoughts occupied with the task ahead of him.' (J.P.R. Wallis, Fortune my Foe The Story of Charles John Andersson African Explorer (1827-1867), London, 1936, pp.320-21)
In the absence of photographs, Thomas Baines’ sketches and paintings have provided an invaluable record of the colonial frontier as it expanded into the hinterland of southern Africa. This painting is no exception: it depicts a poignant moment at the point of conflict and competition for resources as missionaries and traders expanded their areas of influence in Namibia. The missionary Carl Hugo Hahn takes centre stage alongside significant traders Charles John (Carl Johann) Andersson and Frederick Thomas Green with Chief Kamaherero (Maharero), one of the most important Namibian leaders of the 19th Century. These were key figures in the history of Namibia. In addition, the painting records the development of colonial organizations such as the short-lived ‘Otjimbingwe British Volunteer Artillery’, which united under the symbolic banner of its own flag (with an interesting oblique reference to the rivalry for Africa between European nations). Baines has placed Damara Herero warriors prominently in the foreground of the painting, many with red ochre hair, various items of weaponry and traditional attire and others in western dress with wide brimmed hats signifying the process of transition and change experienced by African societies. A Herero woman wearing the unique ekori headdress with the mantle of tubular iron beads draped down her back is also depicted in the foreground.
Baines's painting captures a key moment in the 1860s conflict between the Namaqua (/Hoa/araman Oorlams Afrikaners) and the Damara (Herero) over control of cattle, grazing land and trade. The conflict between the feuding groups is referred to variously as the Nama-Herero, Oorlams-Herero, Nama-Ovaherero and sometimes simply as ‘Andersson’s War'. Although the caption of the picture refers to the warriors as being "Damara", they were actually OvaHerero. This wide-spread confusion stemmed from the misconception of 19th century European missionaries and traders, who referred to the OvaHerero with their large cattle-herds as "Damara" or "Cattle-Damara", while they called the real Damara "Berg-Damara", as they mostly lived in the mountains. The conflict was complicated by the fact that the /Hoa/araman (Namaqua) had treated the OvaHerero as vassal subjects from who they extracted tribute, but this relationship altered when the OvaHerero moved to the vicinity of Otjimbingwe under the protection of the resident traders and missionaries. A battle between the groups had occurred on 15 June 1863 in which the Namaqua Chief Christian Afrikaner was killed following his unsuccessful attack on the settlement. However, tension in the area remained high to the extent that normal trading and hunting activities had been brought to a standstill resulting in financial and economic losses for the hunter traders. Andersson, who faced financial ruin, decided to end the impasse by forming an alliance with Chief Maharero (also referred to as Kamaherero) and had mobilized some 1,600 OvaHerero (Damara) to form a commando, which went by the grandiose name of the ‘Otjimbingwe British Volunteer Artillery’ with the motto ‘Defence, not Defiance’. Although Baines tried to broker peace between the feuding groups, he helped Andersson in practical ways to mount two cannon on wagon wheels and to build a redoubt to defend the trading settlement. In addition, he drew up a drill manual and composed an anthem based on the lyrics of ‘Britannia, the pride of the ocean’:
With the tribes that in warfare surround us,
Nor strife nor contention we seek:
But threaten the loved ones around us
And our cannon in thunder shall speak
This painting shows the meeting between the traders and the OvaHerero (Damara) at Davitjob, spelt phonetically by Baines as ‘Dabby Choup’, situated to the south of Otjimbingwe. The Reverend Carl Hahn, often mentioned by his second name Hugo, is shown rallying the Damara chiefs and the motley commando, the Otjimbingwe British Volunteer Artillery, from the ox-wagon. He is dressed in a black suit and seated next to him is Andersson. Baines designed the Damaraland flag that can be seen unfurled above the wagon. Reminiscent of the Union Jack, the flag was a red cross on a blue field with a white four pointed star behind it. Baines shows himself loyally wearing a blue shirt (rather than his usual white one) with a red, white and blue bandana round his hat while he holds up the second Damaraland flag made by Mrs Andersson. Standing next to the wagon is a distinctive man in a blue shirt and this is more than likely the alliance partner Maherero, one of the most powerful local 19th century leaders. Hahn’s wife, Sarah Emma, is one of the women shown seated close to the wagon and the other is possibly the wife of the blacksmith Johann Karl Edward Halbich, Friederike Amalie. (Mrs Andersson had returned to the Cape by this stage.) Seated next to the women is the renowned Anglo-Canadian elephant hunter Frederick Thomas Green, who worked closely with Andersson. Green had recently led an overland cattle train headed for the Cape market on Andersson’s behalf, but lost everything when ambushed by the Namaqua south of Windhoek near Rehoboth and was lucky to escape with this life. This gave cause for retaliation. Evidently, Chapman was also present at this meeting.
Baines has placed a group of Damara Herero warriors prominently to the foreground of the painting, with red ochre hair, various items of weaponry and traditional attire while others are seated in semi-circle some in western dress with wide brimmed hats. A OvaHerero woman wearing the unique ekori headdress, to signifying her married status, with the mantle of tubular iron beads draped down her back is depicted in the foreground. It is most probably Kataree, who was the head wife of Chief Maharero. Kataree, as the head wife of Maharero, was, like all head wives of OvaHerero chiefs, referred to as omurangere. In this capacity she kept the sacred fire burning in her house at night and took it outside to be rekindled every morning. At the fire she tasted the freshly acquired milk from the sacred cows and only afterwards it was ready for consumption by other family members as well. The objects painted around her depict the vessels, the gourd and basket, used for the milk and to perform other ancestral duties. They were also kept in her house and never allowed to be washed. It has been suggested the she would have brought with her embers from the sacred fire (okuruwo) to bury in the soil, which she picked up from the spot where her husband stood in order to bring good luck to him in preparation for the impending battle.
Following this occasion, the Otjimbingwe Volunteer Artillery led by their Commander-in-Chief, Andersson attacked and defeated the Namaqua, led by Christian’s son Jan Jonker, near Windhoek on the 22 June 1864 bringing to an end their domination of the region. Hahn was to broker a peaceful agreement between Kamaherero and Jonker in 1870. However, Andersson, who was hit by five bullets during the 1864 battle, one of which shattered his right leg, was crippled for life. Baines took great care of Andersson while he recuperated at Barmen (near Okahandja). It was during this time that Baines provided the illustrations for Andersson’s Notes on the birds of Damaraland and the adjacent countries of South-West Africa. Despite his efforts, Andersson’s financial difficulties persisted and he sold his Otjimbingwe establishment to the Hahn’s Rhenish Mission later in 1864. At the end of October, Baines returned to the Cape to great acclaim for his Victoria Falls paintings. At the same time his mother had arranged the publication of his Explorations in South-West Africa: Being an account of a journey in the years 1861 and 1862 from Walvisch Bay, on the Western Coast to Lake Ngami and the Victoria Falls. This marked a high point in Baines’s career as an artist-explorer.