All works have a unique identifier. It begins with “O” for oil painting, “P” for work on paper and “S” for sculpture. 

Following the alphabet designation is 3 digits beginning with “001”. It should be emphasised that the numbering does not correspond to any sorting methodology including chronology.

In addition, we use “T” for textile and “N” for formerly misattributed works. 

The catalogue is set to generate images in random order to invite discovery. At any time, the user can visit a specific work by entering the catalogue number in the “Search” field or by sorting by catalogue numbering. In addition, filters can be applied to sort by medium or period of creation

titles  With few exceptions, Mancoba did not title his work, referring to his work as “expressions”. Thus, the titles, in many cases, were provided by the institutions or authors, with Mancoba’s presumed tacit agreement. If Mancoba gave a work an undisputed title, this is provided - as are any undisputed additional titles.  Otherwise, we use the designation “Untitled”, and as additional titles, list any other references used by curators, registrars and authors.

medium  Works are classified by medium, consisting of sculpture (wood carvings), painting (oil on canvas), with works on paper sub-divided into ink-only and mixed media.

dating  Mancoba infrequently dated his work, yet many of the works’ style or subject matter correspond to particular periods of the artist’s praxis. We have therefore classified all works by presumed “Periods of creation”. A date is assigned only when it is inscribed in the work or there is inarguable documentation to support the date - with such information provided.  If there is context to guide the dating of a work, it is also provided including the reference(s) or reasoning(s).

The six "Periods of creation" are:

• South Africa (to 1938)
• Paris (1938-1947)
• Denmark (1947-51)
• Oigney-en-valois (1951-61)
• Paris (1961 to 2002)
• with a carve out for Paris/Vejby, Denmark (1990-1993)

Provenance records the history of the ownership of a work. We list the known owners in chronological order from Mancoba to present, including city, the method of acquisition and year. 

We use punctuation to signal a transfer using the following convention:

• where a transfer is direct between two owners, the use of “;” (semi-colon),
• where the transfer is indirect or we do not know the connection between the owners, the use of “.” (period/full-stop)
• we use “[ ]” if a commercial gallery, auction house or art agent assisted in the transfer acting as agent and not principal
• we use “possibly” and “probably” as applicable. 

The provenance includes the transfer from Mancoba to his heir, Marc “Wonga” Mancoba, and the subsequent transfer to the Foundation of Ferlov Mancoba as they are separate legal entities. Wonga set up the Foundation (formerly Estate of Ferlov Mancoba), incorporated in France and Denmark, in 2012, to represent not only the works of his father but also of his mother, Sonja Ferlov Mancoba. The works only transferred to the Foundation when Wonga passed away in 2015. 

Provenance requires extensive time and access to information on former owners and triangulation of information from different sources. Thus some research is still ongoing. Should you have information on works, please reach out to us via the Get in Touch link below.

This catalogue covers solo shows and group shows where Mancoba’s art played a significant role. Commercial shows such as in commercial galleries, auction houses and art fairs are not included save for ones of exceptional art historical relevance, such as the exhibitions organised by Danish art associations.

To identify the works exhibited, we consulted not only the exhibition lists and catalogues, but also exhibition reviews and, where possible, photos of works in situ. In the case of older exhibitions where records are few and in light of Mancoba’s practice of not titling and dating his works, we have had to make subjective judgment, and this is reflected in our use of “probably” and possibly”, however we have excluded works for inclusion if we felt the likelihood was too slight based on known information.

If you have information about an exhibition we are missing and or of a work in a listed exhibition, kindly let us know via the Contact information.

Literature comprises books, exhibition catalogues and scholarly journal articles where discussion of Ernest Mancoba's work was consequential. Newspaper articles are generally excluded although we have included early articles published in South African newspapers to offer a wider compendium of literature throughout the artist’s career.

We are heartened by the growing body of scholarship on Ernest Mancoba's work. If a work should be included, kindly reach out to us via the Get in Touch link below.

For citation of the catalogue: Sze, Winnie. Ernest Mancoba: Catalogue Raisonné. Copenhagen : Ferlov Mancoba Foundation. [website address]. (Accessed on [date of access])

Most pages can be printed and automatically include citation, date of printing, artwork title, and catalogue number at the bottom of the page.

The research team comprise Winnie Sze, independent researcher and curator of the exhibition Je est un autre: Ernest Mancoba and Sonja Ferlov (Cobra Museum of Modern Art, Amstelveen, Jan to May 2023) and archivist for the Mancoba digital archive hosted by the Danish art history website (funded by Ny Carlsbergfondet). The catalogue is managed on behalf of the Foundation by Danish art historian Anette Østerby with logistical support by Gallery Mikael Andersen.  The team is grateful for the critical support of Professor Ane Hejlskov Larsen (author of the catalogue raisonné of Per Kirkeby, Volume I and II, 2004/2016 (English versions)) and Professor Karen Kurczynski (author of The Cobra Movement in Post-war Europe: Reanimating Art (2020)).

Like many who have tread the path of catalogue research, we turned to archives, exhibition lists and catalogues, auction results, and literature. We communicated with owners, present and former, where possible. With the works in public collections, we have relied on the expertise of the institutions. We would like to thank the curators and registrars of the public collections, the commercial galleries and auction houses, and scholars researching the artist whose help has been invaluable - for full acknowledgement, please see “footer: thanks & acknowledgement”. That said, any errors are those of the research team alone. 

limitations of data availability and archival materials Although we have accessed many archives and exhibition lists, source availability and completeness are not always optimal. Many older documents may be incomplete, damaged or missing, necessitating cautious interpretation and subjective judgments, especially when titles, dating, or provenance must be estimated.

subjectivity and interpretative judgments Due to Mancoba’s practice of generally not titling or dating his works, the research team has had to make interpretative decisions regarding titles, dating, and attribution. We acknowledge that this methodological approach involves a degree of subjectivity and therefore use transparent markers such as “probably” and “possibly” to indicate uncertainty.

multicultural and transnational perspectives Mancoba’s life and work span multiple countries, which poses specific challenges regarding cross-cultural, historical, and legal research dimensions, including archive access across nations, language barriers, and ownership and archival legislation.

use of technological tools and digital archiving The digital format offers possibilities for accessibility and searchability, yet we are mindful that certain aspects, such as materiality and tactile experience, cannot be conveyed digitally. Additionally, ongoing data maintenance and updating remain critical.

ongoing research process As a work in progress, the catalogue remains open to new discoveries or corrections. We encourage continuous dialogue and contributions from stakeholders to ensure the catalogue stays as current and accurate as possible.

Thank you for your interest in the art of Ernest Mancoba. For some frequent queries, please refer to the FAQs below. Otherwise, please complete the form below and we will endeavour to reply as soon as possible.

1. How do I find out more about the artist? We recommend the Literature section with writings on the artist and his work. Please also visit the digital archives which includes correspondence, recordings of interviews between the artist and his son, and select diaries; to visit the external website, either click on the link back to the Estate of Ferlov Mancoba or visit https://ferlov-mancoba.ktdk.dk/en/soeg
2. How do I find out more about a work? We recommend visiting the website of the institution that owns the work
3. Can I use an image in this catalogue? All photos are the property of third parties and we are not authorised to transmit images on their behalf
4. I believe there is an error in your catalogue? We acknowledge that, despite best efforts, there could be errors and we would be grateful for information that leads to corrections. Kindly fill in the Get in Touch form
5. How do I find out if a work I own is by Ernest Mancoba? Kindly reach out to us via the Get in Touch link with subject line: "provenance research". We confirm our policy to maintain confidentiality of information.