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Lot 27
Marloth, Rudolph THE FLORA OF SOUTH AFRICA WITH SYNOPTICAL TABLES OF THE GENERA OF THE HIGHER PLANTS, 6 VOLS Cape Town: Darter Bros & Co, London: William Wesley & Son, 1913-32 FIRST EDITIONS, complete with 180 colour and 98 monochrome plates, numerous in-text illustrations, volume IV missing plate 59 as per first edition, boards and spines faded with some shelf wear, no dust wrappers, light foxing on edge of text blocks and first few pages of all volumes; Vol I (1913) expert repair to front inner hinge, spine opening in text block; Vol II Sec I (1925) spine opening in text block; Vol II Sec II (1925); Vol III Sec I (1932) with pen notes on plate 18 and spine opening in text block; Vol III Sec II (1932) with foxing on few internal pages; Vol IV (1915) with foxing on a few internal pages and pen notes on plate 43 (6)
![30 VOLS London: Chapman & Hall, [late 1800s] 8vo, complete, numerous B&W illustrations, half-calf binding by Morrell,](https://cdn.globalauctionplatform.com/ec297c40-8676-4592-973b-a96900de0a9e/221b7d94-ccdc-42b1-cb51-8137acb9d9e1/468x382.jpg)
Lot 29
30 VOLS London: Chapman & Hall, [late 1800s] 8vo, complete, numerous B&W illustrations, half-calf binding by Morrell, with marbledboards and eps, spine with raised bands and gilt decoration, top edge gilt, foxingon fore-edges, some shelf wear, previous owner’s name stamped on ep, sporadic foxing throughout; Vol 1: bump to top of back board and last few pages of text block, small tear in headcap; Vol 3: small tear in one illustration; Vol 8: bumped corners; Vol 13: front and back hinges cracked; Vol 15: three loose pages; Vol 16: hinge cracked, one page torn along spine with no loss, two pages with corners torn away; Vol 18: paper loss along margin of one page; Vol 21: headcap with some loss; Vol 23: pencil notes on four pages; Vol 26: one corner torn away; Vol 30: headcap loss and spine opening in text block (30)
![2 VOLS London: W. H. Allen & Co, 1879 FIRST EDITION, 8vo, [xii] + 309 + [ii] ads pp, [viii] + 268 + 36 + [iv] ad pp, larg](https://cdn.globalauctionplatform.com/ec297c40-8676-4592-973b-a96900de0a9e/96a2e992-3ca2-40c9-dd01-dc6dfd5a2e1a/468x382.jpg)
Lot 30
2 VOLS London: W. H. Allen & Co, 1879 FIRST EDITION, 8vo, [xii] + 309 + [ii] ads pp, [viii] + 268 + 36 + [iv] ad pp, large folding map, 39 plates, B&W illustrations, original blindstamped green cloth, previous owner’s name “Morice” on ep, corners bumped and some shelf wear, eps stained brown, front inner hinge opening; Vol I: two sections and one illustration with loosening threads; Vol II: spine opening near middle of textblock, folding map torn in and along one panel with no paperloss (2)
![8vo, 124 + [4] ad pp, publisher’s emblem in black on brown cloth with shelf wear, ‘M. J. C. Morice with the author’s kind reg](https://cdn.globalauctionplatform.com/ec297c40-8676-4592-973b-a96900de0a9e/f3de41bf-e49a-472d-d8aa-ceb6fc55ff87/468x382.jpg)
Lot 351
Alexis Preller (South African 1911-1975) THE SHELL signed and dated '48; oil on board Alexis Preller Retrospective, Pretoria Art Museum, 1972 (Exhibition label adhered to the reverse) PROVENANCE A label adhered to the reverse bears the inscription 'Shell, Property of Guna Masyn listed as private' The Guna Massyn family 16,5 by 22cm In 1948 Alexis Preller visited the Seychelles. During his time here, he would be inspired by all nature of sea life - the beach would become his theatre and many diverse objects, from boats and sandals to mangoes and fish, would play out their surrealist drama here. Preller would absorb each object he came into contact with during his vacation, and would let them simmer in his mind and playout in his art. It is interesting to note that the still lifes of Preller’s Seychelles period would often be placed within a landscape of dirt ground and a moody sky, much like we see in The Shell. The setting is neither land nor sea, but an imaginary scape born out of the depths of Preller’s mind, where the ground would sometimes glow with the intensity of the object it held, as we notice in the ochre-yellow tones of the ground at the forefront of the shell in the present work, giving the object an architectural feeling, rather than a mere still life rendering. Preller would complete a number of works in this small format, often depicting objects that became staples in his oeuvre - fish, shells, egrets and mangoes, amongst others. On these small canvases Preller’s African aesthetic would meet with the Seychelles influence within his surrealistic imaginary scapes. For Preller the imagery of the shell would be a point of departure for a major theme he later developed, that of the human head, in all the many shapes and forms he would develop in his work. “The living shell is a house for an animal. I see the skull as a fabulous piece of architecture – a habitation for the human animal! - his brain his thoughts, everything that can register his experience and his living reactions”¹ It is fascinating to note that the first publicly available auction record for Guna Massyn is for a shell study, completed in 1969.² One can only speculate as to whether Massyn created this work in reaction to receiving The Shell, most likely as a gift from Preller. We know only that The Shell came to be in Guna Massyn’s personal collection before 1972 - the year of Preller’s retrospective exhibition at the Pretoria Art Museum, as the Museum label adhered to the reverse of the work lists Massyn as the painting’s owner. Born Conelius de Jager, Guna Massyn insisted from a young age that he was to be called Guna. It was only in his late teens that Guna de Jager would become Guna Massyn, upon the marriage of his mother, Hazel, to her second husband, Frans Massyn, both of whom were keen to have Guna change his surname in accord with theirs. On a winter’s morning in 1968, Preller came across a note in the postbox he held in Brits expressing a desire to meet him. It was not long before Preller discovered the author of this note was in fact the postal clerk himself, who, at the time, introduced himself as Guna de Jager. With great enthusiasm the young man explained that he was studying art and would love the opportunity to show Preller some of his work and garner his opinion on it. Tall, slim, blond, of modest demeanor and serious about a career in art, Guna was an attractive youth. Both his appearance and his earnest request appealed to Preller who indicated his willingness to meet with him and discuss the aspiring artist’s work. Preller invited Guna to his home, Dombeya, in Hartbeespoort, to visit every now and then to discuss his progress. Before long, it became clear that there was a growing attachment between the mentor and his protègé. While Preller found himself strongly attracted to the young Massyn, it was not merely a physical attraction. In Massyn, Preller saw a younger version of himself, and he was eager to mould Massyn into a successful and sophisticated gentleman. Through this, Preller, in a way, was recovering some of his own youth. He found it immensely rewarding to observe Massyn blossoming under his encouragement and revelled in his worshipful enthusiasm. It was not long before Guna gave up the art lessons he was attending in Johannesburg to become Preller’s full time assistant. As Preller’s assistant, Guna would gladly do all manner of menial tasks with gladness and quiet adoration. One of his more important roles was that of assisting in the hanging of Preller’s exhibitions, and he would often accompany Preller to the Lidchi Gallery a day or two before the opening of an exhibition to hang the show. Massyn played an instrumental role in the preparation for Preller’s retrospective, held at the Pretoria Art Museum, where, more so than hanging the show, he would assist in the restoration of some of Preller’s works on loan from private collections. The museum had requested to loan some works from Guna’s personal collection too, of which The Shell was one. In 1975, Preller would undergo surgery for an ailment that had been bothering him for some time. Preller, convinced that his heart had been weakened by many years of smoking, was almost certain that he wouldn’t survive the surgery, and gave Massyn strict instructions of what was to occur if this was the case. Preller did indeed preempt his death, and on 13 December 1975, he passed away from heart failure before he could awake from the procedure he underwent. Guna lived just long enough to pass on Preller’s dying wishes to those nearest and dearest to them, before he too would succumb, a mere five days later, in a car accident. Alexis Preller and Guna Massyn are buried side by side at Dombeya, Hartbeesport. - K. W. Berman, E. & Nel, K., Alexis Preller: Africa, the Sun and Shadows, Shelf Publishing, Johannesburg, 2009 The World of Alexis Preller, Raymond Hancock Films, SABC Johannesburg, 1973-1975 ¹ Alexis Preller to Esmé Berman, on documentary film, The World of Alexis Preller, 1973 - 1975 ² Sold: Bernadi, Pretoria, 14 February 2010, lot 483
Lot 592
Large Late Victorian Mahogany Compendium Wardrobe comprising of a Central Bank of Two Carved Doors opening to reveal to Linen Press Slides above a Mirrored Back Shelf above Two Short and Three Long Drawers, flanked either side by Two Full Length Mirrored Doors opening to reveal Hanging Space, approx. 215cms high x 210 cms wide
Lot 7
Late 1950s G-Plan Dining Room Suite: Sideboard on shaped flat section ebonised supports, lower section with 2 frieze drawers, pair cupboard doors enclosing half shelf, Matching Circular Dining Table & Set of 6 Chairs with G-Plan stamps to base & Rectangular Topped Coffee Table on ebonised circular section supports (9)
Lot 1795
A very substantial Oak framed three seater Settle, upholstered in navy blue leatherette, having elegant integral arms/seat divisions and having a shelf to the back incorporating pen recesses, the inkwells absent. Standing on tapering square front legs, 77" long x 42" high, the matching shelf 77" long x 35 3/4" high. Understood to have been removed from a tiered chamber close to the Houses of Parliament and of similar design to some fitments in that renowned building.
Lot 1796
A very substantial Oak framed three seater Settle, upholstered in navy blue leatherette, having elegant integral arms/seat divisions and having a shelf to the back incorporating pen recesses, the inkwells absent. Standing on tapering square front legs, 77" long x 42" high, the matching shelf 77" long x 35 3/4" high. Understood to have been removed from a tiered chamber close to the Houses of Parliament and of similar design to some fitments in that renowned building.
![An early 20th century wall mounted glove cabinet with bevel edged mirror and two small shelf units [3]](https://cdn.globalauctionplatform.com/040ad8ec-49ee-4249-8da0-a97e00cbd0c2/7bb3632e-4dd1-41af-b0f5-fa31fdd73e39/468x382.jpg)
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96594 item(s)/page