We found 14383 price guide item(s) matching your search

Spanish silver relief cast tray, in the form of a leaf with further botanical pattern, L: 11 cm, marked for Pasgorcy, 49g. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

Three stone ware jars all marked for Markhams, Norwich Ltd Botanical Brewers also of St Miles Oak Street Norwich

A botanical print

Two botanical prints in white frames

A collection of 19th century Wedgwood Botanical Pearlware items including 5 plates, dish etc (age related wear & 2 plates have chips)

A folio containing botanical and floral watercolour studies, various sizes, all unframed.Condition ReportThere are a total of 57 images in various sizes. Some have Roman numerals i.e. LXXXV = 85 on them. All have yellowing to the paper commensurate with age. There are no major issues just age related wear. The largest is 26 by 36cms and the smallest is 11 by 18cms. There are various other in-between sizes.

A Victorian school - Botanical Study of a Flower - watercolour heightened with body colour, 18cms diameter, framed & glazed.

TWO ANTIQUE BOTANICAL WATERCOLOURS OF FLOWERS, ONE INDISTINCTLY SIGNED FECIT C1820, LARGEST [2] 12 X 9"

Report from Don Ángel Rivera de las Heras is attached. Doctor in Art History. Measurements: 152 x 90 x 52 without base, measurements with base: 215 x 90 x 60 cm. The figure is exactly the same model created by the Galician sculptor Gregorio Fernández that he made in 1617 for the Valladolid convent of San Francisco, and which was reproduced repeatedly, even during the master's lifetime, by disciples and imitators. The Virgin is standing, in a frontal and static position, almost hieratic, with her left foot forward. She has a youthful face, with a cylindrical neck and rounded head. Small locks of hair are arranged on her forehead, as in other omaculated autographs. Her long, wavy hair is divided into two levels, maintaining her symmetry: her front hair falls to her shoulders, the rest of it flows down her shoulders and down her back to below her head. waist. She keeps hers, hands joined, in a prayerful gesture. She wears a white tunic, tight with a headband, decorated with botanical motifs using the stew technique, and highlighted with borders in the cut-out, cuffs and fimbria. She covers herself with a blue mantle, bordered with a fretwork formed by vegetal scrolls applied with a brush tip, studded with seven-pointed golden stars. Her tunic and cloak show wide, ridged and broken folds, marking cavities, especially in the lower third; those on the back of the cloak are gathered, as usual, in a puff that seems to be attached to an invisible pin. The figure sits on the quarter moon and a cluster of clouds with a group formed by three heads of winged angels, who, like the Virgin, have glassy eyes, which seems to be a later addition. And she is surrounded by a halo with golden, straight and flamed rays, in which the following inscription is displayed: "TOTA PVLCHRA ES AMICA MEA / ET MACVLA NON EST IN TE" (Cf. Song of Songs 4, 7). The cubic base is from the 17th century, and is decorated with the anagram of Mary, as well as gilded moldings on its base and cornice, and vegetal plaques on the fronts. Conservation: the organoleptic examination allows us to affirm that its state of conservation is very good, although small scratches and minor chips are observed. It is a sculptural work of extraordinary artistic and plastic quality. It is not documented, but it can be attributed to Gregorio Fernández (Sarria, Lugo, 1576-Valladolid, 1636), from whose workshop it came out in the artist's last period, between 1620 and 1636. This is evidenced by its compositional design, its formal characteristics and some specific details of its execution. BIBLIOGRAPHY: Juan José Martin González, The sculptor Gregorio Fernández, Madrid, 1980; Jesús Urrea, Cat. of the exp. Gregorio Fernández, 1576 - 1636, Madrid, 1999. Provenance: important Spanish private collection.

A boxed Royal Worcester porcelain cake stand, further cake knives, Portmeirion Botanical jug and fruit bowl, Spode Blackberry fruit bowl

A collection of decorative botanical illustration prints, to include titles examples within marbled borders (seven frames)

A wall clock with an old coloured botanical print of oranges set in a wooden glazed frame with hinged door, (battery operated), a pair of turned oak candlesticks, four sandstone effect mini gargoyles, an Indian shaped wood wall bracket and two dogs dressed as King Charles (Spaniel) and as William Shakespeare (Springer)

Natural History interest inc A Shepherds Life, W H Hudson (1910) books on botany and Charnwood Forest, Life and her Children (1892) Paxton's Botanical Dictionary (1849) etc (11)

CUNARD INTEREST, A CASED SET OF TWELVE SILVER AND ENAMEL COFFEE SPOONS AND A SIGNED CUNARD QUEEN MARY CARD, the spoons bowls enamelled verso with a botanical study, seal tops, maker Henry Clifford Davis, Birmingham 1955, 3.67ozt, 114.2grams, in a Garrard & Co Ltd case, the card inscribed 'Leaving gift to Audrey Page, Lady Assistant Purser on Q. Mary. June 1956' and 'JUNE 1956 Signatures of Staff in Pursers Dept on RMS. Queen Mary' (Condition Report: one spoon has a possible repair to the enamel above tip of bowl but otherwise in good condition)

After Pierre-Joseph Redoute (1759-1840, Belgian), coloured prints, Six botanical studies, including Moss Rose and Noisette Rose, together with another botanical print depicting an Argemone (Prickly Poppy), all framed and under glass, the largest measures 32cm x 42cm overall

Mollie Whitworth (20th Century), watercolour, 'Marigolds', signed to the lower right, framed, mounted, and under glass, measuring 18cm x 26cm, & 34cm x 42cm overall, together with an assorted collection of coloured and photographic prints, including caricatures after Frank Reynolds (1876-1953), and botanical studies

These 6 Royal Doulton Burslem Aesthetic Movement floral salad plates are exquisite examples of late 19th-century English porcelain. Each plate is hand-painted with a different botanical subject in a naturalistic style, and the rims are trimmed in gold. Doulton Burslem backstamp. Issued: c. 1886Dimensions: 0.75"H x 9"WManufacturer: Doulton BurslemCountry of Origin: EnglandCondition: Age related wear.

BOTANICAL 'VEGETABLE' PRINTS, a set of three, 68cm x 54cm. (3)

David Johnson (Contemporary) Extensive river landscape Signed and dated (19)97, watercolour, together with a quantity of watercolours and prints to include a botanical watercolour by Sheila Jackson "Green Border", signed and dated 1983, three vignette-scale watercolour studies of Australian birds (framed as one), twelve watercolour botanical studies, a print after Margaret Rowney "Moor Park Gate", etc.., various sizes (19)

Rex Ray (1956 - 2015) American, Botanical (2001), resin, paper collage, acrylic on wood, 60.5 x 41 cm, framed 62 x 43 cmIn very good condition, with very slight wear to the frame. Unsigned on the front, back is sealed into the frame. From a private collection with a descriptive label on the reverse.

A Herend Rothschild Botanical Bird porcelain tea set, comprising thirteen cups, fourteen saucers, a teapot, a milk and a cream jug and a sugar bowl and coverFair overall condition, the bottom handle of cream jug broken, missing decoration to the top of the milk jug, fine cracks to the centre of one saucer, visible dirt to one saucer, damage to the inner lid of tea-pot, wear to gilt decoration throughout commensurate with age, please see additional photos

A probably Davenports of Longport "Botanical" bone China part dessert service for ten settings, probably 1840/50s, comprising ten lobed circular plates and a low comport. Each painted with different untitled flora within honey gilt leafy scroll borders, bearing an impressed fouled anchor mark to the base of each. 22.5 diameter of the plates.

* BET LOW RSW ARSA RGI DLitt (SCOTTISH 1924 - 2007), HILLSIDE, ABERDEENSHIRE mixed media on paper, signed, titled label verso mounted, framed and under glassimage size 37cm x 49cm, overall size 57cm x 68cmHandwritten artist's label verso. Note: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group with J.D. Fergusson in 1942. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is held in numerous public and private collections.

* BET LOW RSW ARSA RGI DLitt (SCOTTISH 1924 - 2007) SUN-DOG WESTERN ISLES mixed media on paper, signed, titled label verso mounted, framed and under glassimage size 35.5cm x 35cm, overall size 62cm x 62cmHandwritten artist's label verso.Note: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group with J.D. Fergusson in 1942. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is held in numerous public and private collections.

Patience Arnold (1901-1992), seven watercolour botanical studies, each signed, various sizes (7)

Large 19th century porcelain table lamp, hand painted detailed botanical studies, no factory marks, height excluding fitting 48cmGood original condition, an original firing crack under the base but no damage or restoration, wired for electric but untested

NO RESERVE Levant.- Tournefort (Joseph Pitton de) Relation d'un Voyage du Levant, 2 vol. in 1, titles printed in red and black, 89 engraved plates, 4 of which folding, numerous engraved illustrations, bookplate of Rev. F. Hutcheson to front free endpaper, with his ink ownership name to first title, lacking 3*1-4 (4ff. of "Lettre a Monsieur Begon"), 7 plates loose and frayed at edges to varying degrees, once causing very small loss to image at head, plate at Y4 browned along fold and with small loss to lower margin, most botanical plates captioned in early ink manuscript, some light soiling or spotting, endpapers frayed and worn, contemporary calf, spine richly gilt in compartments and with morocco label, spine with upper two compartments torn and working loose, worn, heavily to lower cover, 4to, Amsterdam, Aux dépens de la Compagnie, 1718; sold not subject to return. ⁂ Tournefort's botanical expedition to the Levant, covering Crete, Constantinople, Turkey, the Black Sea, Armenia, Persia, Georgia and Smyrna.

A large Stourbridge cameo glass scent bottle attributed to Thomas Webb and Sons, circa 1885Of slender teardrop shape in pale green glass overlaid in opaque white, carved on both sides with botanical specimens filling the space with flowers and leaves, a butterfly in flight to the reverse, the American silver screw top by Gorham, Providence, Rhode Island, marked 'GORHAM STERLING', engraved to the top with the monogram 'RIM', 26.5cm highFootnotes:ProvenanceHeritage Auctions, 22 May 2004, lot 19717For further information on this lot please visit Bonhams.com

Pictures & Prints - Victor Coverley Price (1901-1989), Haycart Barns, watercolour, 16cm x 25cm, Graham Cartoon, botanical watercolour, Vernon Ward print (8)

Books - Flowers, Botanical, Gardening, Art and Illustration - Florilegium Imperiale, Botanical Illustrations for Francis I of Austria, with an Essay by Marina Heilmeyer Lack Walter, Published by Prestel; The Tulip, Anna Pavord; Infinitely Beautiful, The Dessau Wörlitz Garden-Realm; The Botanical Garden, two volume set, Roger Philips, and Martin Rix; Wall and Water Gardens, Irises, Rock Gardening; etc, two boxes.

A pair of botanical prints, orchids, in wash line mount and gilt frames, two 19th century colour prints, views of London and bridges, and a number of other pictures, various

Dykes (William Rickatson). Notes on Tulip Species, 1st edition, London: Herbert Jenkins Ltd., 1930, 54 colour plates, some light spotting mostly to text, top edge gilt, remainder untrimmed, original green cloth in dust jacket, horizontal crease to dust jacket, folio, together with Millais (John Everett). Magnolias, 1st edition, London: Longmans, Green and Co. Ltd., 1927, photogravure frontispiece and plates, original cloth, chipped at head, 8vo, plus Arnold (Marion, editor). South African botanical art: peeling back the petals, 1st edition, Vlaeberg, South Africa: Fernwood Press, 2001, colour and few monochrome illustrations, original boards in dust jacket, 4toQTY: (3)

Fischer (Friedrich Ludwig Ernst, and C. A. Meyer). Sertum Petropolitanum seu icones et descriptiones plantarum, quae in horto botanico Petropolitano floruerunt, 2 parts bound in one volume, St. Petersburg: Imprimerie de Fischer/Typis Academiae Caesareae Scientiarum, 1846/52, title page to each part in Latin, additional title at front in French: Jardin de Saint-Petersbourg 1846, introductory text to each part in French, botanical descriptions in Latin, 5 plans (including one interior view) of a palm-house (each with caption in Russian and French), 20 lithographed and engraved botanical plates (several captioned J. A. Satory ad nat. pinx), including 13 hand-coloured, light spotting and minor marks, first colour plate (Almeidea rubra) with light dampstain to lower portion, not affecting image), final leaf of text somewhat heavily spotted, contemporary green morocco-backed cloth, upper cover titled in gilt, some marks and wear, principally to joints and head and foot of spine, large folio QTY: (1)NOTE:Nissen 629; Sitwell and Blunt, p. 56; Pritzel 2916; Stafleu 1788.

Agnew ( A. D. Q.). Upland Kenya Wild Flowers, a flora of the ferns and herbaceous flowering plants of Upland Kenya, 1st edition, Oxford: University Press, 1974, numerous monochrome illustrations, ex-libris stamp to the front endpaper, some minor marginal toning, original cloth in dust jacket, covers lightly rubbed with some minor tears to the head & foot, 8vo, together with:Ohwi (Jisaburo), Flora of Japan, Washington D.C.: Smithsonian Institution, 1965, monochrome illustrations, some minor marginal toning, original green cloth, spine lightly faded, 4to, plusWagner (Warren L. et al), Manual of the Flowering Plants of Hawai'i, 2 volumes, revised edition, Honolulu: University of Hawai'i Press, 1999, colour & monochrome illustrations, original cloth in dust jackets, covers very lightly rubbed to head & foot, 8vo, and other modern botanical & horticultural reference & related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (5 shelves)

Hughes (Griffith). The Natural History of Barbados. In Ten Books. By the Reverend Mr. Griffith Hughes, A. M. Rector of St. Lucy's Parish in the said Island, and F.R.S., 1st edition, London: Printed for the Author, 1750, title, dedication leaf, list of subscribers, folding engraved Map of the Island of Barbados, by Thomas Jefferys (plate size 43 x 36 cm), short closed tear without loss to right margin, 30 full-page engraved plates of mostly botanical and natural history subjects by James Mynde and George Bickham after Georg Dionysius Ehret and others, woodcut head- and tail-pieces, some spotting, mainly at front of volume and to margins, bookplate to front pastedown removed, contemporary calf-backed marbled boards, rubbed and joints partly cracked, folio (text block 36 x 23 cm) QTY: (1)NOTE:Nissen 950; Sabin 33582; Hunt 536; Great Flower Books p. 60.According to Hunt, this work 'is one to place beside Catesby's Natural History'. Hughes's Natural History of Barbados is the first book to describe a grapefruit calling it the Forbidden-Fruit-Tree.

Important Irish Family Sketch Book Co. Wicklow [Wynne Family Sketchbook] An extensive folio Scrapbook of Watercolours, Photographs and Postcards relating to the Wynne Family of Tigroney, Co. Wicklow. The Album begins with watercolours of Views of Killucan, (Rectory, Ruins etc.) Continental Scenes, Botanical Studies, Newscuttings, Photographs, Caricatures, Animal Studies (Signed with initials A.B.W. and E.C.W.) some loosely inserted, some Naive or charming childish Sketches, approx. 140 original sketches and watercolours (of varied sizes) approx. 50 photographs & newscuttings. In hf. leather, buckram binding. Emily Adelaide Wynne (1872-1958) Irish textile artist at Avoca Woollen Mills, was born in Germany in 1872. Her parents were Albert Augustus Wynne, a civil and mining engineer, and Alice Katherine (nee Wynne). She was the eldest of five children, with three sisters, Winifred Frances (1873-1969), and Alice Clara ‘Veronica’ (1890-1969), and two brothers John Brian (1877-1977) known as Jack and Charles (1895-1917). The Wynne family were originally from Hazelwood or Annagh, County Sligo, and were related to Dr. Kathleen Lynn and Constance Markievicz. Their family home was the Georgian Tigroney House, beside the Avoca Woollen Mills in the village of Avoca, County Wicklow. Along with his brother, Wyndham, their father held mining interests in Germany, with the family frequently visiting the country.   Following the collapse in value of their mining investments, the Wynne brothers pulled out of German mining in 1908, and refocused on local Irish projects. This focused Wynne’s mother on her daughters' need to develop a vocation to support themselves, encouraging them in intellectual and creative pursuits. The Wynne sisters were most likely educated at home by governesses. Frances trained in designing patterns for damask work from around December 1901 to March 1902 at Andrew S. Robinson Designing Rooms, Wellington Place, Belfast. Having attempted to sell her designs to some Belfast linen mills, she learnt the practical and economic realities of creating a design suitable for production. Wynne, her sisters and her mother ran a lace repair and sales business from around 1905 to 1916, to supplement the family’s income.  Wynne ran the business again after World War I using her contacts in Europe. Both of Wynne’s brothers fought in the war, with Charles dying in France from injuries he sustained. Wynne also wrote a novel with her sister Alice Clara Veronica, “Every Dog” (1929), published under the pseudonyms E. and B. Pringle-West.  The sisters took over the running of the Avoca Woollen Mills in 1927, which was originally founded in 1723. The mill became known for its strong and unusual colours, which at the outset are reported to have been by accident. The Wynne’s capitalised on this reputation, using unusual colours in their cloth with new lines, which proved a success overseas. The mill was soon supplying fabrics to fashion designers in France and woollen items to the United States. Wynne developed her own signature pink, along with other colour derived from her botanical knowledge allowing her to source and grow plants in their large walled garden for dyes. She became known for cultivating primulas including one named “Julius Caesar”.  The Avoca Woollen Mills products were sold through the Country Shop on 23 St. Stephen’s Green, Dublin, and supplied tweed to the designer Elsa Schiaparelli. Wynne visited Schiaparelli in Paris in 1933 and 1937. She also made a trip to New York and Boston in 1935 with the American agent Carol Brown. They opened a shop in London in the 1930s, overseen by Wynne’s cousin, Barbara Donovan, acting as the mill’s English agent. The company was at its peak in the 1940s, employing 70 men and producing 500 yards of cloth a week. Papers, diaries and other archival material from Wynne and her sisters are held in the Manuscript collection of the Library of Trinity College, Dublin. As an Album, w.a.f. A unique and interesting item.  (1)

Elizabeth 'Lizzie' Dunlop, 20th Century Irish Original Drawings & Watercolours: (Dunlop (E.)) A large Album of Botanical & other Studies, birds, flowers etc., approx. 200 loosely inserted of various sizes, vibrant in colour; together with smaller sketchbook Album, as a collection. (2) Provenance: By direct descent to present owner.

Attractive Volume Irish Botanical Sketch Book Northern Ireland: Richardson (Anne Wakefield) A.W.R. & S.E.R. Richardson (Sarah Edith), Album of approx. 46 extremely attractive and competent botanical watercolours, mostly completed in N. Ireland, (a few from localities in England). They are mostly native wild flowers, from around their home, Moyallen, Newcastle, Drumlin, Knockbridge, Burtown etc., all circa 1874/1875, each approx. 14cms x 11cms (5 1/2" x 4 1/2"). All in good condition cont. hf. crimson mor. as an Album, w.a.f. (1)  * Anne Wakefield, & Sarah Edith, were twin sisters, two of eight children of Jane & John Grubb Richardson of Moyallon House, near Gildford in Co. Down. He was a prosperous linen merchant as well as being the founder of a major trans-Atlantic steamship company that served to bring many Irish emigrants to North America, fleeing the Great Hunger in the late 1840's. He was also a philanthropist, and the founder of the model village of Bessbrook, near Newry.

[Walsh (Wendy)] Wendy Walsh - A Lifetime of Painting, folio D. (Strawberry Tree) 2007, illus., cloth and d.j.; Nelson (E.C.) & McCracken (E.M.) The Brightest Jewel, 4to, Kilkenny (Boethius Press) 1987, First Edn., illus., cloth; Butler (P.) Irish Botanical Illustrators & Flower Painters, folio, Suffolk (A.C.C.) 2000, illus., cloth &d.j.; Nelson (E.C.) & Walsh (W.) The Burren, 8vo, Kilkenny (Boethius Press) 1991, illus. ptd. wrappers, as a lot, w.a.f. (4)

Regnault,(N.F.).: La botanique mise a la portee de tout le monde ou collection des plantes d'usage dans la medecine, dans les alimens et dans les arts. 3 (von 4) Bde. Paris, für den Autor (1770-1780). Imp.Fol. Mit 2 (von 3) gest., handkolor. Titeln, 2 gest. S. "Introduction a la Botanique", 356 (von 474) handkolor. Kupferstichtafeln von G. de Nangis Regnault. Etw. spät. Hlwdbde. mit goldgepr. Rsch. (Berieb. u. best., beschabt). Nissen BBI 1600. Dunthorne 256. Pritzel 7475. Great Flower Books, S. 72. Stafleu TL2 8810. Blunt-Stearn, S. 171: "Perhaps the most impressive French botanical book of the period". - Ursprünglich in 4 Bänden erschienenes Werk mit Schwergewicht Heilkräuter. "The book deals with useful and decorative plants; and the author engagingly describes the potato as 'possibly the only good thing that ever came out of America' " (De Belder 295). ". - Die Tafeln jeweils mit Beschreibungen auf einzelnen unnummerierten Blättern gedruckt. Dies ermöglichte es dem Eigentümer, das Werk nach den gängigen botanischen Systemen oder auch nach eigenen Bedürfnissen zu sortieren. Vorliegendes Exemplar mit handschriftlicher Blattpaginierung des Textes. - In jedem Band vier (davon zwei weisse) Blatt mit handschriftlichen Tafelverzeichnissen (von etwas späterer Hand). - Ohne den 4. Band, "Avertissement", "Table des Noms" und "Ordre de la Distribution". - Schwach gebräunt, nur vereinzelt schwach feucht- und gelegentlich minimal stockfleckig, Bd. 3 Text zu Tafel 28 mit kl. Randeinriss (ca. 2 cm; ausserhalb des Textes), Innengelenke jeweils etwas angeplatzt, in Band 1 gebrochen, hier Bindung angelockert. - In Band 1 auf vorderem Spiegel gest. Exlibris "The Warren H. Corning Collection Horticultural Classics".

A selection of various mounted book prints to include botanical and fashion interest

Three stoneware bottles for A. Arden & Co. Botanical Brewers Whitton Ipswich, and A.E. Hunter Ltd, Wine Merchants Bury St Edmunds

Botanical & Garden Art. Three titles: Swan, Ann - Botanical Painting (2010); Luke, Ariel - Garden Painters (2009); & The Shirley Sherwood Collection (2019). All hardbacks in dust jackets. (3)

Stunning fan shaped vase in an all-white Art Deco style with simple botanical design on front and back. Roseville 934 backstamp. Issued: c. 1940Dimensions: 7.5"L x 3"W x 8.5"HManufacturer: RosevilleCountry of Origin: United StatesCondition: Age related wear. Chips to inside rim, handle, and base.

BOTANICAL PRINTS, a pair, in burr wood frames, 66cm x 48cm. (2)

HEATH'S FERN PORTFOLIO, four botanical studies, 19th century, coloured etchings, including 'Royal Fern', 'Black Maidenhair Spleenwort', mounted and glazed, 55cm H x 45cm W. (4)

T. J. Greenwood (British, contemporary) 'Blue Tit' etching, signed and inscribed 13.2 x 11.7cm.; together with three small 19th century botanical engravings with hand colouring in maple frames. (4)

Anne Lee (British,1753-1790),"Briza media", Quaking grasses, botanical watercolour, 22x33cm, framed and glazed. Abbott and Holder label on backboard, inscribed June 1772.

A collection of Spode blue room collection plates to include Rome, Floral, Woodman, Girl at well, Willow and Botanical (6)

HOOKER, William Jackson (1785-1865). Pomona Londinensis, London, [1813]-18. Volume one only [all published], 4to, 49 exceptionally fine hand-coloured aquatint plates of fruit, contemporary half morocco (rubbed). FIRST EDITION.HOOKER, William Jackson (1785-1865).  Pomona Londinensis: Containing Colored [sic] Engravings of the Most Esteemed Fruits in the British Gardens with a Description of Each Variety. By William Hooker, F. H. S. Assisted in the Descriptive Part by the President and Members and Sanctioned by the Patronage of the Horticultural Society of London. London: "Published by the Author ... And sold by J. Harding ... J. and A. Arch ... and Rodwell and Martin," [1813-]18. Volume One only [all published], 4to (332 x 250mm). 49 exceptionally fine hand-coloured aquatint plates of fruit by William Jackson Hooker (some light spotting and staining to the text, some mainly marginal very light spotting and staining to the plates). Contemporary half morocco, top edges gilt, others uncut (lacking the top compartment of the spine, heavily rubbed and scuffed, inner hinges broken). Provenance: "From Sir Thomas Branston to his much esteemed friend Mrs William Shuttleworth as a small token of his affection & regard, Liverpool, 4th August 1848" (inscription on front free endpaper). FIRST EDITION of this work of which only the first seven parts were published between 1813 and 1818. "In 1827 Hooker became editor of Curtis's Botanical Magazine, where several of his illustrations appeared, and in 1841 he became the first director of the Royal Botanic Gardens at Kew. As director of Kew Gardens, Hooker's first moves were to open the gardens to the public and to establish an arboretum, museum and library. More greenhouses were added and the magnificent Palm House was completed [under his direction] in 1848" (Jack Kramer, The Art of Flowers, New York, 2002, p.154). It is not known why the present work was abandoned, and, despite the ravishing beauty of its plates, it is not listed among his works in DNB. Brunet II, 626; Dunthorne 139: "... among the best of all fruit prints"; Nissen BBI 913; Raphael An Oak Spring Pomona 42: "... no more parts were published after the end of Volume I, which described thirteen apples, eight pears, seven plums, five peaches, four nectarines, four cherries, and one or two examples of several other fruits"; Sitwell Great Flower Books 1700-1900 p.60. 

LOUDON, Jane Webb (1807-58). The Ladies' Flower-Garden of Ornamental Annuals, London, [1849], 4to, 50 fine hand-coloured lithographed botanical plates by Loudon (some spotting and staining), contemporary green half morocco (worn). Second edition.LOUDON, Jane Webb (1807-58).  The Ladies' Flower-Garden of Ornamental Annuals ... Second Edition. London: William S. Orr and Co., [n.d. but preface dated 1849]. 4to (288 x 232mm). Half title, 50 fine hand-coloured lithographed botanical plates by Jane Webb Loudon (some plates bound out of sequence but all present, some light spotting and staining but plates generally clean). Contemporary green half morocco gilt, marbled endpapers, gilt edges (worn, heavily rubbed and scuffed, lettering-pieces torn with loss). Provenance: James [?]Jerman, [?]Exon (pencil signature on front free endpaper). "The copyright having passed into other hands, the present and second edition of this important work is now issued. In it much new and valuable matter has been incorporated, the vast amount of general knowledge lately accumulated has been carefully collated and added to its pages, former errors have been corrected, and, as it is hoped, an accurate and extensive view of the state of botanical science is presented to the public" (from the author's preface). The second edition also had two additional plates which did not appear in the first, which was published in [?]1840. Loudon wrote other works in the same series on perennials, bulbous, and greenhouse plants. A little known, and completely irrelevant fact, about the author is that she was also a pioneer of the science fiction genre: her first published prose work, before she turned to botany and horticulture, was The Mummy!: Or, A Tale of the Twenty-Second Century (London, 1827), the first story in the English-language to feature a reanimated Egyptian mummy. See Kramer Women of Flowers pp.120-8; cf. Nissen BBI 1234; Pritzel 5632; Sitwell Great Flower Books 1700-1900 115.

PONTEY, William (fl.1780-1831). The Forest Pruner, London, 1810, 8vo, 8 engraved plates, some coloured and folding, later half calf gilt. The third edition. With 4 other works in 5 vols. (6)PONTEY, William (fl.1780-1831).  The Forest Pruner; or, Timber Owner's Assistant: A Treatise on the Training or Management of British Timber Trees ... The Third Edition. London: Printed for J. Harding, 1810. 8vo (220 x 150mm). Engraved frontispiece and 7 plates, 4 of which coloured, 3 of which folding or double-page, 3-pages of publisher's advertisements at the end (some mainly marginal light spotting and staining). Later green half calf by Bumpus, the spine lettered in gilt, marbled endpapers, top edges gilt, others uncut (some light staining). Provenance: Loraine of Kirkharle (armorial bookplate). The first edition was published in 1805. Not in Brunet; cf. Raphael An Oak Spring Sylva. A Selection of the Rare Books on Trees in the Oak Spring Garden Library (1989) No. 43. With 4 other works in 5 volumes, namely the Abbé de Vertot's The History of the Revolutions of Portugal ... The Fifth Edition (London, 1754, 8vo, contemporary calf), John Hill's The Family Herbal (Bungay, 1812, 8vo, 54 hand-coloured botanical plates, contemporary calf gilt), George Tattersall's The Lakes of England (London, 1836, 8vo, folding hand-coloured engraved map of the Lake District, plates, contemporary half calf), and Thomas Moore's Nature-Printed British Ferns (London, 1863 [engraved titles dated 1859], 2 volumes, large 8vo, 2 additional engraved titles and 122 coloured "nature-printed" plates by Henry Bradbury, 20th-century full calf gilt). (6)

MIDDLETON, Charles Theodore (1726-1813). A New and Complete System of Geography, London, [1777], vol. one only (of 2), folio, 5 engraved maps, 55 engraved plates, contemporary black morocco (worn). Sold as a collection of plates, not subject to return.MIDDLETON, Charles Theodore (1726-1813), & others.  A New and Complete System of Geography. London: Printed for J. Cooke, [1777]. Volume one only (of 2), folio (344 x 230mm). Title printed in red black, 5 folding engraved maps, 55 engraved plates (lacks world map and all before title, one plate torn and repaired on verso, a few tears without significant loss, some spotting, staining and browning, a few leaves browned). Contemporary black morocco (very worn, upper cover detached). Provenance: various old botanical specimens loosely-inserted. The present volume includes descriptions of Asia and Africa. Complete sets are rare. Sold as a collection of plates, not subject to return.

A rare Nantgarw porcelain cabinet plate decorated by Thomas Pardoe, the porcelain c.1818-22, the decoration c.1821-23, painted with a landscape vignette of two exotic birds perched on tree branches to the centre, contained within a six lobed cartouche of gilt bands with iron red stylised flower surmounting each lobe and trios of gilt-highlighted leaves to the creases, on a turquoise and duck-egg blue caillouté ground with six ornamental reserves bordered in blue and gilt and containing further painted exotic birds in landscapes, the gilded rim with six large and six small lobes, old collector's label to underside, 21cm diameter  The present lot is being offered on behalf of a charity. Footnotes: Note: Thomas Pardoe (1770-1823) was one of the most versatile painters of pottery and porcelain in the late 18th and early 19th century in England and Wales.  Born in the parish of St. Alkmund in Derby, Pardoe was apprenticed to the Derby porcelain works at the age of 15, and by age 20 had moved to Swansea as a skilled artisan by request of George Haynes, owner of Cambrian Pottery.  Between 1802 and 1804 Pardoe was acting manager and chief painter.  Around 1809 Pardoe moved to Bristol, where he is recorded as having a decorating business.  While in Bristol, Pardoe acted as go-between in the development of a new venture of porcelain manufacture at Nantgarw, aiming to manufacture the finest porcelain available for the English market.  In 1821 Pardoe was invited by William Weston Young to work with him and decorate the large stock of porcelain that remained.  Pardoe’s Nantgarw painting was based on his standard repertoire, including Japanese-influenced ‘Imari’ styles, Chinese-influenced ‘famille rose’ styles, botanical decoration, naturalistic flower groups, and caillouté or ‘pebbled’ gilding.  Pardoe’s painting at Nantgarw was among his very finest, a reflection of his great admiration for the factory and the culmination of some thirty years of painting experience. The present lot is most likely a single-item commission rather than from a named service or registered pattern, and therefore bears a possibly unique decorative scheme in Pardoe's oeuvre. It bears no impressed mark, but this is not universal for Nantgarw porcelain, see below in the related literature for other examples. The turquoise caillouté ground is strongly reminiscent of Sèvres porcelain and illustrates the prevailing taste and demand for Sèvres porcelain among wealthy families and connoisseurs in London in the first decades of the nineteenth century.  Related Literature: Andrew Renton et. al., Thomas Pardoe 1770-1823, Nantgarw, 2023: Nantgarw China Works. Cf. N18 for a plate decorated by Thomas Pardoe in the National Museum of Wales in Cardiff, item number NMW A 31449, and N20 for a plate decorated by Thomas Pardoe in the Andrews Collection, Oriel Plas Glyn-y-Weddw. The examples mentioned above share the six lobed cartouche with iron red stylised flowers, ornamental reserves painted with exotic birds, and caillouté ground found on the present lot. These unusually elaborate plates showcase the range of Pardoe's skills from figurative and landscape painting to East Asian motifs. The NMW example equally bears no impressed mark and yet is undoubtedly from Nantgarw and decorated by Thomas Pardoe. W. D. John, Nantgarw Porcelain, Newport, 1948: R. H. Johns Ltd. Cf. 53 D. for a small plate decorated in the Kildare S. Meager Collection decorated with similar ornamental reserves to the present lot, albeit containing single pink roses. See also 54. A for a small plate in the E. M. Bythway Collection with a similar treatment of a distant background of conventional mountains in pale bluish-grey colouring to the centre of the plate. We are grateful to Andrew Renton of Amgueddfa Cymru – Museum Wales for confirming the attribution of the present lot based on inspection of photographs.Condition Report: Overall in good decorative order.  Some light scratches to the porcelain visible on the centre, some pitting present to the centre and border, some bubbling and tarnishing to the gilt lobed cartouche on the right side, some loss of gilding to the rim, some areas of surface dirt.  UV examination reveals a now-defunct postcode inscribed in UV-susceptible ink to the underside. 

A Bloor Derby part dessert service, circa 1820, comprising pair of oval dishes and a pair of plates, each painted with named botanical studies, 'Carnation', 'Rose', 'Anemone' and 'Carnation', apple green borders, moulded gilt serpentine rims, circular printed 'Bloor Derby' marks, 28cm long (4)

A Chelsea gold anchor botanical saucer, circa 1760, Hans Sloane style specimens on relief moulded scaled ground, including turnips, plum and orange, 13.5cm diameter

Reginald Austin for Royal Worcester, an Australian botanical painted teapot, globular form, circa 1917, decorated with flowering sprays of Erica Plukeneteii, painted domed cover and foliate moulded loop handle, signed with monogram RA, puce printed mark, 11cm high

Four Royal Copenhagen 'Flora Danica' dessert plates, circa 1952Each finely painted with botanical specimens, the moulded zig-zag rims with gilt and pierced borders, titled in black on reverse, 23cm diam., wave marks in underglaze-blue, factory marks stencilled in green, various numerals and letters in green (4)For further information on this lot please visit Bonhams.com

A pair of Derby porcelain botanical plates in the manner of William Quaker Pegg, circa 1795-1800, pattern 197, painted with titled specimens of Saint John's Wort and Rosa Eglanteria yellow wild rose, blue script marks and crown over batons marks, 24cm diameter (2)Provenance: Private Collection. Purchased from Burnley Antiques in 1983.Condition:Good condition with no damages or repairs. The Saint John's Wort plate has quite a few scratches through the decoration and some areas of wear to the gilded rim.

A Derby fluted botanical dessert plate attributed to William Quaker Pegg, circa 1795-1800, pattern 197, painted with a specimen of Shrubby Lobelia, titled to the reverse including in Latin, crown over batons mark, 23.3cm diameterProvenance: Private Collection, purchased from Peter Jackson Antiques in 1994.Condition:Good condition with no damages or repairs.