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

Cathy Tabbakh Emerald Monstera, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Cathy Tabbakh is a French painter working in the UK, with a passion for the mesmerising power of colour. She has exhibited in various galleries in Europe, the UK, USA and Australia and soon in Seoul, Korea. She holds degrees in Fashion Textile, Design and Fine Art (2011) and Art History and Archaeology (2017) both in Lyon. Cathy's work can be found in private collections worldwide and since 2021 as part of the Soho House Collection, with 2 paintings commissioned a displayed in Soho House Paris (2021), a commissioned floral ceramic sculpture displayed in Brighton Beach House (2022) and several works soon to be in High Road London in Chiswick, coming September 2023. Cathy's work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism, as to alter presumed proportion, and a saturated colour palette to punctuate the contrast between shadow and light. Tabbakh's still-lifes show her desire to surround herself with green spaces combined with her love for architecture and interior design. She recently introduced ceramics into her practise, reflecting the colourful and bold style of her still-lifes. Select Exhibitions/Awards SOLO SHOWS Rhodes Gallery - solo show "La Vie en Couleurs" - 13 - 30th of September - 2023 - London, UK Court Tree Collective - solo online exhibition "Hello!" on Artsy - 2022 - Brooklyn, NYC Rhodes Gallery - solo presentation - 2022 - London, UK Oever Gallery - duo show "Warm Regards" - 2022 - Ostend, Belgium Galerie Dessers - solo presentation - 2022 - Hasselt, Belgium Delphian Gallery - duo show "Fatal Shadow and Narcissus" -2021 - London, UK SELECTED GROUP SHOWS Everyday Mooonday - Record of Possession - coming October 2023 - Seoul, Korea Delphian Gallery - Papier - 23rd of September 2023 - Charente, France Marie Jose Gallery - Floradise - 2023 - South Kensington, London, UK Court Tree Collective - Summer Lounge - 2022 - Brooklyn, NYC 19 Karen Contemporary - 2022 - Gold Coast, Australia Blue Shop Cottage - part of Works on Paper 4 online exhibition - 2022 - London, UK Tinimini Room - online group exhibition - 2022 - Dordrecht, The Netherlands   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Curtis (William) Botanical Magazine; or Flower-Garden Displayed, vol.4, 9, 15 and 16 in 3, 164 engraved plates, all but one hand-coloured, one folding, some light toning, various contemporary calf or half calf bindings, rubbed, 8vo, 1791-1801.

A collection of various glass slides to include topographical, botanical, France, India, etc. (quantity)

Six early 19th century botanical prints of succulents on laid paper with plate marks, in modern gilded and lacquered Chinoiserie frames, 13¼ x 8¾in. (33.7 x 22.2cm.). *Good condition.

English School (20th/21st century) - Botanical studies of flowers and their seed pods, later coloured reproduction, 10.25" x 7.25" together with other companion botanical studies, various sizes also an old coloured print depicting the "New Rooms at Bath", possibly after Thomas Hearn, various other decorative furnishing prints one depicting Bath Races, after Thomas Rowlandson another after the same artist, entitled a "Man of Feeling", 13.5" x 9.25" also another print, possibly after Rowlandson or Charles Williams and published by Thomas Tegg, entitled the Night Mayor all magistratical Vigilance, extensively inscribed, 9.5" x 13.75", various other figurative subjects, various sizes (a collection)-** Provenance The Royal Crescent Hotel

A large quantity of hand coloured botanical prints, mostly printed by Cheffins, after CJ Rosenberg, Holden, Mrs Withers, each approx. 26x18cm, overall in frames 31x23cm (22)

Portmeirion china: Botanical range items to include tea wares, dinner wares, vase, and a large lamp. (3 boxes) (Q)

AN ENGLISH PORCELAIN 'BOTANICAL' PART DESSERT SERVICE, MID 19TH CENTURY each painted with a flower specimen, the pink and burgundy patterned band reserving three floral panels alternating with strapwork motifs, with yellow and gilt foliate scroll borders, shaped rims, comprising: seven plates and four circular comports, painted marks '3 / No 4389' (11)

JEWELLERY BOOKS - FABERGÉ (1/3) COMPRISING; Cultural-Historical Foundation: The Link of Time, Fabregé Museum, St. Petersburg 2014 Faberge: Imperial Craftsman and his World, Dr Géza von Habsberg, Booth-Clibborn Editions, London 2000 Fabergé: The Imperial Eggs, Christopher Forbes, John Georg Prinz von Hohenzollern, et al., Prestel-Verlag, Munich 1989 Fabergé: Lost and Found, A. Kenneth Snowman, Harry N. Abrams, Inc., New York 1993 Fabergé: The McFerrin Collection - The Opulence Continues..., The Artie and Dorothy McFerrin Foundation, 2016 Fabergé: Treasures of Imperial Russia, Fabregé Museum, St. Petersburg, Rizzoli International Publications, Inc., New York 2017 Fabergé Eggs: Masterpieces from Czarist Russia, Susanna Pfeffer, Hugh Lauter Levin Associates, Inc., 1990 Fabergé in London, Kieran McCarthy, ACC Art Books Ltd., Suffolk 2017 Fabergé in the Royal Colection, Caroline de Guitaut, Royal Collection Enterprise Ltd., London 2003 Golden Years of Fabergé: Drawings and Objects from the Wigström Workshop, Ulla Tillander-Godenhielm, Peter L. Schaffer, et al., A La Vielle Russie, 2000 Imperial Surprises: A Pop-Up Book of Fabergé Masterpieces, Mary Ann Allin, Margaret Kelly, et al., Harry N. Abrams, Inc., New York 1994 Masterworkd of Fabergé: The Matilda Geddings Gray Foundation Collection, John Webster Keefe, Cheekwood Botanical Garden & Museum of Art, Nashville 2008 Royal Fabergé, Caroline de Guitaut, Royal Collection Enterprise Ltd., London 2011 (13) The largest: 35cm x 25cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A Copeland botanical porcelain part dinner service, mid 19th century, comprising: four footed salad plates, and nine dinner plates, each decorated with a central floral spray, surrounded by a gilt geometric pattern, turquoise border, printed maker's mark, and painted fraction mark '1/105' to base (13) (at fault)Condition report: Each piece shows surface wear commensurate with use and age, including minor surface scratching and staining to the borders (please see photo). No other obvious chips, cracks, signs of damage nor restoration. Each piece appears to be transfer printed. 

Alice Brown Chittenden,  American 1859-1944- Study of wildflowers with purple sweet peas and yellow pansies; oil on paper, signed and dated 'A.B. Chittenden. 93' (lower right), 42.4 x 30.1 cm. Provenance:  Mrs Winter (according to a label attached to the backing board).  Pat Murphy, 1919 (according to a label attached to the backing board).  Private Collection, UK. Note:  Chittenden was a prominent and versatile artist who worked in her home town of San Francisco. She was particularly celebrated for her botanical works, producing, over the course of 50 years, 256 paintings of 350 varieties of Californian wildflowers. Chittenden's works exhibit a striking accuracy, with their scientific significance surely enhanced by the assistance she received from her friend Alice Eastwood (1859-1953), a curator of botany at the California Academy of Sciences in San Francisco. 

After Jean Louis Prévost,  French c.1760-1810- Still life with tulips, peonies, and daffodils; bodycolour on paper, 25.4 x 32.1 cm. Provenance:  Private Collection, UK. Note:  Despite not being produced as botanical illustrations for scientific purposes, Prévost's floral still life compositions are known for being minutely detailed and highly accurate. The present work, depicting a colourful array of flowers spilling out of a basket, is highly reminiscent of many of the artist's compositions, and is particularly similar to a print produced by Ambroise Legrand (fl.1797-1814) in c.1805 [Philadelphia Museum of Art no.1961-86-104]. 

Three bottles of Gin to include: Mermaid Gin, Isle of Wight Distillery. 70cl. 42% vol., Ableforth's Bathtub Gin, 70cl. 43.3% vol. and Botanical Project Limited release traditional batch Gin, Eden Mill St Andrews, 50cl. 43%vol. (3) (B.P. 21% + VAT)

A set of six botanical prints39cm x 28cmQty: 6Some scuffing to the frame.

A set of six gilt framed botanical prints

After J.A. Naumann (19th Century), coloured print, 'Grue Cendree', an ornothological study, measuring 58cm x 83cm, together with other loose coloured prints of botanical studies and paintings

After Conrad Loddiges (1738-1826, British horticulturist), coloured prints from copper engravings, Botanical studies, including versions taken from 'The Botanical Cabinate 1817-1833), mounted, the largest measures 12cm x 18cm, & 23cm x 30cm overall

After Pancrace Bessa (1772-1846, French), prints of coloured engravings, Botanical studies - Camphire Tree, Common White or Grey Poplar, White Birch, and Balsam Poplar, mounted, measuring 15cm x 24cm, & 26cm x 36cm overall

'B.M.W.', watercolour, 'Cyclamen', a floral still life study, signed and dated 1993 to the lower right, mounted, measuring 25cm x 33cm, & 36cm x 43cm overall, together with an assorted collection of botanical studies, after William Curtis (1746-1799, British), and other antiquarian style prints of exotic trees and plants

BOTANICAL PRINTS, set of four, framed and glazed, 50cm x 35cm each. (4)

BOTANICAL PRINTS, a set of four, printed by C F Cheffins, London, 26cm H x 19cm each. (4)

AUBUSSON BOTANICAL DESIGN CARPET, 300cm x 240cm.

Fourteen late 19th and early 20th century jars and flagons (some with damage) to include: 'Dobell Mot & Co., Gloucester (the largest example, 48cm. high, 26cm. wide) - impressed 'Powell Bristol'. In good condition, with a few unglazed patches to the body from firing; 'J & F Williams Jr, Hight Street, Cheltenham' (30.5cm. high) - Impressed 'Price & Sons Stoneware Bristol', large rim chip and two other small rim chips, plus a long, large chip to the side of the handle and a large chip to base; 'Hanley Bros, Oxford' (39.25cm. high) - impressed 'Price Cx Bristol', two small rim chips, otherwise in good condition; 'Tayler & Co. Spirit Merchants, Northleach' (26cm. high) - impressed 'Price 11 Bristol', in good condition with no damage;  'E Knott & Co., Botanical Brewers, Cheltenham' (27.25cm. high) - impressed 'Price 21 Bristol', in good condition with no damage; 'Hunt Edmunds & Co. Ltd, Brewers & Spirit Merchants, Banbury' (31.75cm. high) - impressed 'Price 4 Bristol', handle missing, three large rim chips and large chip to base; 'The Original Brewing Co., Cheltenham' (33cm. high) - impressed 'Price 20 Bristol', small rim chip, otherwise good; 'Hitchman & Co. Ltd, Old Fashion Brewed Ginger Beer, Chipping Norton' (17cm. high) - in good condition with no damage; 'F Horne & Sons, Moreton-in-Marsh (Spirits)' (two examples, one 32.4cm. high, the other 26.7cm. high) - the larger impressed 'Price J Bristol', in good condition, with just some hard cork residue around the rim. The other smaller example with a large break to the front, with the pieces glued back; 'R M Bird & Co. Wine Merchants, Stratford-upon-Avon' (31.1cm. high) - impressed 'Price P Bristol', large vertical crack from base  to the shoulder beneath the handle loop; 'C.J Gillett, Moreton-in-March' (32.5cm. high) - impressed 'Price J Bristol', handle has been off and has an old glued repair; 'J D Wheeler & Co. Wine Merchants, Gloster' (36.8cm. high) - impressed 'Price + Bristol', good condition apart from a glaze blister from firing below the handle 'Garne & Sons. Brewers & Wine & Spirit Merchants, Burford, Oxon' (30.5cm. high) - printed 'Powell Bristol' mark, large rim chip and three other smaller rim chips.

Transfer printed Spode set - 8 pieces Collection Mid 19th Century Copeland & Garrett Late Spode part dinner set Transfer printed with green botanical flowers. Each named to bases. Consisting of 5 plates & 3 bowls. Chips to rims of bowls with one cracked. Plates mostly good with some wear.

Chinese Watercolours on Pith Paper, mid 19th century, figures at various persutes and botanical studies (2 albums)Book 1 - Bindings are badly worn frayed and torn with water damage and staining, each leaf with foxing mostly to the borders, page one with a slight tear to the artwork at the extreme left, page two with several holes and tears, page three with three tears to the edges and a small hole on the right hand side, page four with small hole on the right and one at the bottom, page five with some staining and a tear to the bottom right corner, page six with a large tear to the bottom left and a small hole to the centre, page seven, large tear to the right side but not intruding on the picture, page eight with several large tears and creeses, page nine with a small hole to the left hand side and slightly heavier foxing, page ten two small wholes, all the pages are loose in the binding.Book 2 - Bindings are badly worn freid and torn with water damage and staining, all pages but the last two have suffered heavy water damage and all with small tears and holes, the last page depicting a boat with tears along the bottom edge.

Art and Antiques Reference Books, including: Britten's Old Clocks and Watches and Their Makers, Bloomsbury Books, 1986, 9th edition, dust jacket; MacLaren (Neil and Christopher Brown), The Dutch School. 1600-1900, National Gallery Publications, 1991, 2 volumes, dust jackets, slipcase; Gilbert (Christopher), The Life and Work of Thomas Chippendale, Artline Editions, 1978, dust jacket; auction catalogues, including A Magnificent Collection of Botanical Books, April 1987, and others from Sotheby's, Christie's, Bonhams; together with a small quantity of miscellaneous books, inculding the Methodist Magazine, literature, military, etc. (9 boxes)

Everill, botanical study, watercolour on handmade paper, signed, 36cm x 26cm, framedGood condition

A set of eight gilt framed botanical prints after P.J. Redouté.

Group of unframed 19th century and later flower studies, to include botanical sketches, one inscribed in ink 'Blossom of the Betel Vert 1837', another of arched design depicting a yellow rose and butterfly on a marble ledge, etc

A collection of 19th Century porcelain plates to include a pair with floral cartouche panels against a deep blue and gilded ground, a later botanical plate against pale blue ground, a shell handled dish with figural study and a tall comport with panels of exotic birds against a green and gilded border, all unmarked, various factories. (5)

A collection of late 19th to early 20th Century Dresden porcelain to comprise large coffee pot, large teapot, covered sugar, covered milk, serving plate, side plates, three cups and five saucers, all hand painted with botanical studies with gilded highlights and borders over the white porcelain ground, crossed Sword and T mark. (qty)

A large quantity of late 19th to early 20th Century Dresden tea wares to include a small teapot and cover, serving plates, fluted cups, saucers and plates, all hand painted with botanical studies with gilded highlights and borders over the white porcelain ground, underglaze blue Dresden and Crown mark. (qty)

A quantity of late 19th to early 20th Century Dresden tea and tablewares, to include a fluted body teapot, assorted serving dishes and plates and cups and saucers, all hand painted with botanical studies with gilded highlights and borders over a white porcelain ground. (qty)

A collection of 19th Century Staffordshire china tea and coffee cups and saucers, all hand enamelled with various floral and botanical studies in cartouche panels against blue ground with relief paste and gilded decoration, unmarked. (6)

A collection of 19th Century and later china cups and saucers hand decorated with enamel flowers and botanical studies and scenic views in cartouche panels against tonal blue grounds, all with gilded scroll work and highlights, various makes to include Copeland & Garrett, Royal Crown Derby and Staffordshire. (6)

A collection of 19th Century china tea cups and saucers to include examples decorated with floral and botanical studies, scenic views to cartouche panels and relief paste gilded and enamelled panel patterns all against tonal pink ground with gilded scroll work and highlights, various makers.

A collection of 19th Century and later china teacups and saucers hand enamel decorated with floral and botanical studies with enamelled and gilded highlights, Staffordshire, Minton and Copeland examples, some marked. (5)

A collection of 19th Century and later Staffordshire china tea and coffee cups and saucers, all hand enamel decorated with floral and botanical studies, some within repeat panel borders and cartouche panels, all highlighted with gilding. (6)

A collection of 19th Century and later china tea and coffee cups and saucers, mostly English, to include a Minton example with butterflies, some decorated with floral and botanical studies, including Spode, Coalport and similar.

A collection of 19th Century and later china tea and coffee cups and saucers, mostly continental, all decorated with floral and botanical studies, including Meissen, Sevres, examples with Vienna mark, and similar.

A collection of 19th Century and later china tea and coffee cups and saucers, mostly English, most decorated with floral and botanical studies, including Royal Drown Derby, Paragon and similar.

A collection of 19th Century and later china tea and coffee cups and saucers, to include some decorated with enamelled floral and botanical studies and a moulded example, including Belleek, Noritake, Davenport and similar. (qty)

A collection of 19th Century and later china tea and coffee cups and saucers, mostly English, most decorated with hand enamelled floral and botanical studies, including Doulton, Copelands, Royal Worcester and similar. (qty)

Sohrab Sepehri (Iran, 1928-1980)Untitled (Abstract series) oil on canvassigned 'Sohrab Sepheri' in Farsi (lower right), executed early 1960's47 x 39.5cm (18 1/2 x 15 9/16in).Footnotes:Provenance:Property from a private collection, South of FranceBonhams, Modern & Contemporary Middle Eastern Art auction, 1 May 2019, Lot 24 Property from a private collection, UKAcquired directly from the Artist in Iran, 1963 by an English employee of the Iranian World Service RadioIn its grace, naturalism, and sophistication, the present painting is a work utterly faithful to the tenets of Sepehri's oeuvre; demonstrating an almost perfect confluence of Sepehri's strong representational impulse propelled by his love of the vernacular of Kashan and the more opaque abstraction inherited from the Eastern painting traditions he was so fluently versed in.Poet, artist and intellectual, Sepehri's mild manner and withdrawn persona belied the richness of expression manifest in his works. Enraptured by nature, Sepehri had a deep and profound attachment to the topography of his native Kashan, the 'oasis city' where trees and vegetation sprung amidst the arid desert. The genesis of all of Sepehri's work was firmly rooted in this landscape, and whilst he is sometimes miscategorised as an artist solely pre-occupied with nature, the fullness of Sepehri's veneration of nature finds as potent a fruition in his representation of the dwellings that inhabit it.Sepehri had a firm belief in the inherent grace and nobility of the nature he so admired. Inspired by Eastern traditions, with which he had direct contact during travels in India and Japan, Sepehri came to see the purity of the natural world as an antidote to the corruption of the human condition. Thus, when depicting human and architectural subject matters, Sepehri carried the tonal, textural and botanical qualities of nature into his compositions.This is a testament to the harmonious symbiosis between nature and civilization in the rural context; buildings composed of local materials in a vernacular architectural language are thoroughly embedded with their landscape, they do not dominate or seek to conquer and subjugate in the manner of the dehumanizing urban sprawl Sepehri so dreaded when he exclaimed his 'fear of cities where the black earth is pasture to cranes'.Stylistically, the present work is a scintillating example of the very palpable sense of tension between naturalism and abstraction manifest in Sepehri's work. Sepehri was conceptually engaged by the universality of Zen painting, its advocacy of tonal minimalism, and its shedding of excess and detail in favour of exploring true meaning through a process of efficient meditative brushstrokes, however this was heavily tempered by his desire not to forsake the identity of his surroundings, ultimately, his attachment and love for his native home would never grant abstraction a total victory, and it is in this tension, that artistic sincerity is most deeply revealed.After enrolling at the Académie des Beaux-Arts in Paris in 1957, Sepehri went on to travel in Italy, throughout Africa and India before taking up a print making apprenticeship in Tokyo in 1960. During this period, the artist was exposed to Japanese philosophy, material culture and poetry that greatly influenced his future practice in both the visual arts and literature. After battling leukaemia, Sohrab Sepehri passed away in 1980 at the age of 52, remembered as both an exceptional painter and renowned poet.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Interior design - a set of five framed reproduction Botanical / Natural History prints, Narcissus Lily, Mimosa, etc, 74cm x 59cm (largest overall frame size), (5).

SIX CHINESE SCHOOL BOTANICAL PAINTINGS19TH CENTURYWatercolour and body-colour on paper, framed and glazed, 38cm x 31cm. (6)

* Ehret (G. D.). Cereus minimus scandens polygonus spinosissimus flore purpureo, originally published in Plantae Selectae, Christoph Jakob Trew, Nuremberg [1750 - 73], engraving after George Dionysius, printed in colours and finished by hand, very slight spotting, 445 x 305 mm, mountedQTY: (1)NOTE:Dunthorne 309. A fine image from Trew's Plantae Selectae, one of the great botanical books of the 18th century.

Group of Continental porcelain & glass circa late 19th century and later to include pair of encrusted vases, Sevres style vase decorated with botanical floral panel on a cobalt blue and gilt ground, Cherub mounted dressing mirrors etc.

Fratelli Koristka - Milano - Early 20th century Italian ebonised metal and brass microscope. Regio Esercito, Sanita Militape. No. 18668. Together with some botanical specimen slides, and spares. Officine Galileo Microscope measures approx. 32cm tall. 

BOTANY -- KOPS, J., (a.o., ed.). Flora Batava. Vols I-II. Amst., J.C. Sepp en Zn., 1800-07. 2 vols. of the series. W. 160 engr. plates, all magnificently cold. by hand. Lge-8° (!). Cont. hcf. w. dec. gilt spine w. green labels. (Boards flaking, corners bumped/dam., hinge vol. 1 split but holding, vol. 1 one waterstain on 1 p. (does not run into image), some edges slightly yellowing). NOTE: Vols. 1 & 2 of this monumentical botanical work. - Jan Kops published the first ten volumes and the work was continued by a series of other botanists, until it was finally completed in 1934, in 28 volumes, with 2240 plates. - Nissen BBI, 2247; Pritzel 4822; Landwehr, Bks. w. cold. plts., 60; Johnston 663.

BOTANY -- TREW, C.J. Plantae Selectae quarum imagines ad exemplaria naturalia Londini in hortus curiosorum. Nuremberg, 1750-1773. Text-pp. present: 23-56, (2). W. 1 engr. title, (letters in red, black, and gold), 3 fine mezzotint portraits of Trew, G.D. Ehret, and J.J. Haid, 50 (of 100) handcold. engr. plates (nrs. 51-100) after Ehret by Haid, each with the first word of the caption highlighted in gold & 1 extra (unnumb.) plate by Ehret ('Agaricus Ramosus'). - Bound with: 21 handcold. engr. plates taken from Knorr's 'Thesaurus rei herbariae hortensisque universalis'. - Tog. in 1 vol. Lge-fol. Cont. cf. w. dec. gilt back (Bind. dam. and sides loose, free endpaper torn, faint waterstain in outer blank margin of some lvs., but else fine (apart from some minor foxing spots/yellowing) and with the plates in good condition). NOTE: Second half of one of the greatest eighteenth-century botanical colour-plate books. The Plantae Selectae is considered by Nissen to be the finest botanical work ever printed in Germany. Trew, physician at Nuremberg and amateur botanist, admired the talent and skill of his younger countryman, Georg Ehret, a gardener and flower painter. Ehret is one of the great painters of flowering plants in the eighteenth century and all 100 plates of the Plantae selectae were painted by him. Trew died in 1769, leaving the last three parts uncompleted. The work was finished by Benedict Christian Vogel, Professor of Botany at the University of Altdorf. The work was conceived as early as 1742 when Trew wrote to Christian Thran in Carlsruhe: "Every year I receive some beautifully painted exotic plants (by Ehret) and have already more than one hundred of them, which with other pieces executed by local artists, should later on, Deo volante, constitute an appendicem to Weinmann’s publication but will, I hope, find a better reception than his". In 1748, agreement was reached that Johann Jacob Haid from Augsburg should provide the engravings, and the first part appeared in 1750. - Dunthorne 309; Great Flower Books, p. 78; Hunt 539; Nissen, BBI, 1997; Pritzel 9499; Plesch Coll. 771. For the Knorr plates see: Hunt 538; Nissen, BBI, 1081; Pritzel 4757.

A set of four botanical prints of flowers, another print of flowers and a black and white print (6).

Ø A WITHERING FIRST-TYPE POCKET MICROSCOPE, CIRCA 1776of standard form with brass-handled accessories comprising diamond-headed scalpel, pricket and tweezers, contained within original cylindrical card case of issue -- 4½in. (11.5cm.) high, IDN: X48FM76XDr. Mill notes:William Withering was a physician in the 18th century who pioneered the use of foxglove digitalis ih cardiac disease He was also a keen botanist and in1776 published”A Botanical Arrangement of all the Vegetables Naturally Growing in Great Britain”. In this work he described a pocket microscope suitable for botanical fieldwork which could be carried in a coat pocket.In Withering's original version the plates were of ivory but the design was rapidly taken up by various makers and brass replaced the ivory. Various changes were introduced and manufacture continued well into the 19th century. Models were generally unsigned and dating is difficult but this one is probably early.Two brass uprights carry three brass plates. The lowest is a ring carrying three small feet. The highest narrow plate accepts the screw in lenses and the middle plate slides on the supports for focussing and has a central recessed aperture which takes an ivory plate- black on one side and white on the other. There are two single lenses which can be used either singly or combined giving three magnifications. There is no provision for transmitted lighting. As in the original version there are four small instruments presemt held in slots in the discs – ivory handled lancet and needle, brass forceps and a reversible needle-bug holder.The microscope slips into a black fish skin covered card case.Fine overall condition. A little rubbing to case.

A large and wide ranging collection of decorative and furnishing prints to include botanical, Baxter’s examples, other topographical examples, etc (group)

A mixed collection of decorative botanical furnishing prints, together with a small gilt-framed wall mirror (group)

A George IV botanical study, watercolour, dated May 28th 1824 lower left, later framed and glazed, 24 x 19 cm

D.J. Whatling, five floral watercolours; a pair of Botanical coloured prints and a coloured print "Mother & Son"

Six boxed Caithness ltd edn glass paperweights with certificates, to include Masquerade (no. 68 of 75), Reticello Rose (no. 41 of 50), Coral Reef (no. 9 of 50), Spring Botanical (no. 20 of 50), Cliff Top (no. 52 of 100) & Royal Golden Wedding Crown (no. 50 of 50)

A late 19th/early 20th century pine case containing various trays of microscopic slides, many with paper annotations from Hungary, with further paper label to lid Historic technology 6 Mugford Street, Marblehead, Mass 01945, together with various other late 19th/early 20th century glass microscope slides being anatomical and botanical examples, many cased and some loose in card box

A collection of early 20th century Bury St Edmunds Abbey and church related photographic and printed postcards, depicting the Abbey Gate from 1904 onwards, the botanical gardens, the excavation of the five Abbot's tombs in 1905, the Abbot's Bridge, WWI tank amongst the Abbey ruins, the High Altar, artistic views of the Abbey before the dissolution, St Edmund's Catholic Church in Westgate Street in 1902 and 1905, St Peter's Church in Hospital Road, St John's Church in St John's Street, Wesleyan Church in Brentgovel Street, Baptist Chapel in Garland Street, St Mary's Church, and St James' Church and Cathedral, some with inset portrait images of the vicar at the time, publishers to include H. Cornish, F.G. Pawsey & Co, Pelham, Frith & Co, H.E. Stevens, Paul & Mathew (approx 65)All mounted in plastic corner slips on explanatory printed card (not stuck down).