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A Good Collection of Gardening and Botany Books, including: Bowles (E. A.), My Garden in the Summer, T. C. & E. C. Jack, 1914, plates, pictorial cloth; idem, My Garden in Autumn and Winter, T. C. & E. C. Jack, 1915, plates, pictorial cloth; Haggard (H. Rider), A Gardener's Year, Longmans, Green and Co., 1905, second impression, plates; Boeser (Knut, ed.), The Elixirs of Nostradamus..., Bloomsbury, 1995, dust jacket; Bayton (Ross), RHS The Gardener's Botanical: An Encyclopedia of Latin Place Names, Mitchell Beazley, 2019; and others on plants of the world, gardening, mushrooms, flowers, flora of the silk road etc. (13 boxes)

HITOMI HOSONO (born 1978); a set of three porcelain and gold leaf bowls comprising a small Sakura petal bowl, a small Soyokaze bowl and a small Michikusa and Sakura petal bowl, incised signatures dated 2021, tallest 4.5cm, largest diameter 7.5cm (3).“I am fascinated by botanical forms, the veins of a leaf, the shape of its edges and the layering of a flower’s petals. It is my intention to transfer the plant’s beauty and detail into my ceramic work, using it as my own language to weave new stories for objects.” Condition Report: Appears good with no obvious signs of faults, damage or restoration.

VALERIA NASCIMENTO (born 1962); 'Coral', an organic sculpture/wall piece formed by handmade individual porcelain elements on a wooden base, inscribed signature dated 2021, diameter 19cm.“Nature is full of recurring patterns and rhythms, spirals, waves, petals, leaves. My inspiration is drawn mostly from the natural world, though my work carries references to both architectural and botanical forms. Inspired by underwater ecosystems, the Coral series combines separate porcelain elements to form a cohesive organic group.” Condition Report: Appears good with no obvious signs of faults, damage or restoration.

NO RESERVE Botanical Medicine.- A Synopsis of Medicinal Plants Corresponding Principally with those Noticed in the London Pharmacopoeia, printed pamphlet, title and 5pp., unbound, stitched as issued, central folds, [not listed in Worldcat], 90 x 230mm., by William Clowes, 1834.

Herbal.- Fuchs (Leonhart) De historia stirpium commentarii insignes, numerous woodcut botanical woodcuts in text, bb8 blank, lacking title, worm holes to lower margins, very occasionally just encroaching on text, some spotting and staining, lightly browned, contemporary blind-stamped vellum over boards, upper joint starting, but holding firm, some worming, soiled, [cf. Hunt 61; Mortimer French 240 & Nissen BBI 667], 8vo, Lyon, Balthazar Arnoullet, [1549 or 1551].

Great Britain 1964-1970 collection of UM presentation packs in binder including Shakespeare Festival, 1964 Botanical, Geog & FRB, 1965 Churchill, Parliament, Battle of Britain, 1966 Robert Burns & Westminster Abbey, 1969 Prince of Wales (English & Welsh) etc to 1970. Qty 39. (40)

A 19th Century needlework sampler worked by 'Charlotte Freeman aged 9 in 1850', having biblical, architectural, and botanical motifs surrounding a central religious verse, in a running floral border, 41.5 x 41.5cms, in a bird's eye maple veneered frame.

A Georgian Scottish motif sampler worked by Margaret Mclaren in the year 1828 aged 12, having alphabetic bands above botanical and animal motifs, the latter incorporating a naive portrait of a couple and their dog, and a house, above the verse "Margaret Mclaren shewed this sempler in the year 1828 aged 12 when I am dead and in my grave and all bones are rotten this piece of clothe will tell my name wen I am quiet forgotten" [sic], cotton threads over an open weave ground, with hand-stitched ribbon edge, 44 x 32cms, framed under glass.

A selection of framed coloured botanical study reprints, framed dried flowers and a print of Liverpool

Thirty six Victorian magic lantern slides, Biological and Botanical interest inc Moulds, Wheat Grain, Rice, Potato and other Starch, Ali Ullah, Bermuda Arrowroot, etc (36)

A DERBY PORCELAIN PART DINNER SERVICE 19th century, painted with botanical studies within borders of diapered panels and scrolling gilded foliage, with shaped and pierced borders, inscribed to the base "2/5960", including a large comport, 21cm high x 37cm wide; two serving dishes 31cm wide; a smaller, 28cm wide; four single handled dishes, 25.5cm wide; and twenty plates, 23cm wide (a lot)

Four Hans Sloan style botanical plates, 19th century, each plate decorated with a central floral and botanical spray, surrounded by an overpainted green border, gilt banding throughout, each plate 23cm diameter (4) Condition report: Each plate shows fine surface scratching and wear throughout, minimal crazing to the central well, and rubbing to gilt banding. No other obvious signs of damage or restoration. 

ANGUS McFADYEN: a silver and finely engraved 'Square Vase'Edinburgh 2019 Tapering square form, hand-raised and gently curved, the interior richly gilded, the exterior intricately engraved in delicate sprigs of foliage, sprays to the foreground plain polished, others differing in depth and shade appearing in the background, forming a subtle multi-layered fauna effect against a matt stippled ground, height 11cm, diameter circa 11cm, weight 11.75oz.Footnotes:The creation of 'Square Vase'This beautiful square shaped silver vase has the accolade of being the first 'square' that Angus McFadyen ever hand-raised! The whole piece is created from just one sheet of silver and the exterior is intricately hand-engraved. Angus had to make 1,100 minute engraved marks per square centimetre to achieve this complex multi-layered foliage effect. This piece is a real testament to his skill and mastery as a silversmith and engraver.BiographyAngus McFadyen is a world renowned goldsmith, silversmith and engraver working to commission and for exhibitions. He specialises in hand engraving and inlaying techniques.Angus is a member of Contemporary British Silversmiths and a Freeman of the Worshipful Company of Goldsmiths'. He has work in the Victoria and Albert Museum and the Worshipful Company of Goldsmiths' collections. In addition, he is the current Chair of the Hand Engravers Association, where he teaches on the short course programme as well as regularly demonstrating at industry events.Angus McFadyen became a silversmith more by accident than by design. As a child he was often to be found in his father's woodwork shop and initially went to college to learn to make furniture, but was drawn to metalwork instead. Some years after leaving college he taught himself to engrave – a technique that has since come to characterise his work. Angus is best known for his silver vessels, most of them hand-raised and decorated with botanical motifs – clocks, teapots, vases and bowls adorned with golden foliage, chrysanthemums, ferns and roses.He explains that his attraction to engraving in particular is as much concerned with line and texture as it is with the form and finish of an object.'Now I either engrave or carve nearly everything I make, to the point that I sometimes make a piece just to have something on which to do some engraving. I have always been drawn to low relief carving in stone, such as the Elgin Marbles. It is not just the carving, it is the monotone quality that appeals. I think a lot of the time I am trying to reproduce drawings on silver.'For further information on this lot please visit Bonhams.com

Elizabeth II (1952-2022), Brilliant Uncirculated Set, 2009, comprising Two Pound to One Pence, including 250th Anniversary of the Foundation of the Royal Botanical Gardens, Kew, Fifty Pence (S. US39). In original Royal Mint presentation folder, as struck.

FOLDER OF 10, 19THC BOTANICAL WATERCOLOURS. SOME WITH HANDWRITTEN NOTES & INSCRIPTIONS [10] LARGEST 11 X 8”

Late Victorian photograph album, mounted with family portraits alternating with pages printed with botanical specimens, within leather bindings and with gilt metal clasp 

Five assorted framed prints to include a view of St Georges Chapel, Windsor, a botanical print, a watercolour drawing of pair of nuthatch, signed Julie Piper (6) 

Collection of mostly early 19th century hand coloured botanical engravings, including plates published by T. Curtis 1803, together with a book of botanical prints

Group of 19th century and later ceramics, including a Dresden bottle vase, Coalbrookdale-style vase, Pearlware botanical plates, etc

▴ Joan Warburton (1920-1996)Botanical studiessigned with initials and dated '73 l.r., watercolour32 x 52cmCondition ReportFramed: 48.5 x 68cmIn good condition. Unexamined out of glazed frame.

A Collection of Vintage Glazed Stoneware Brewers Bottles to include Joseph Lancaster Botanical Brewer, Farsley, White Tros. Botanical Brewers Chapel Street Wolverhampton and Livingstone Works Brewers, Crew together with a Footwarmer 'The Household Stores Footwarmer' Most Pieces with Condition Issues and Loss Etc

A vintage “Broadway Melody” music-sheet cover; a botanical coloured print, each in a glazed frame; a brass desk lamp; & a waste-paper basket.

Abraham Munting (Dutch 1626-1683), a set of four hand coloured copper engravings of botanical subjects including clematis passionalisflore campavlato, leontopetalon capitatum americanum, colutea vesicaria æthiopica, and campanula pyramidalis minor34cm x 23cmQty: 4Some spots to the campanula pyramidalis minor. Minor foxing throughout. Plate mark clearly visible on all four prints.

GB 1964 BOTANICAL & GEOGRAPHICAL PRESENTATION PACKS, BOTH FLAT IN SLEEVES The first two presentation packs from 1964, somewhat elusive at the best of times. These two both flat, with original sleeves.

JOHN NASH (brother of Paul Nash), a set of twelve English Flowers, botanical lithographs 1948, printed by W.S Cowell, 28cm x 21cm each. (12) (Subject to ARR - see Buyers Conditions)

BOTANICAL TULIP PRINTS, two, 17th/18th century Mughal style, largest 89cm x 58cm, framed. (2)

A mixed collection of items to include Portmeirion Botanical large vase & similar, Aynsley Chelsea patterned vase, Royal Worcester Tureen etc

Botanical print, Pterocarpus Furvus, 37 x 25cm, a 19th century English titled family crest and motto, 17 x 12cm, an engraving after Bartolozzi entitled ' Form Didelots Benefit ', 19 x 14cm and a coloured engraving of an unusual bird, all framed and glazed

A pair of C.E.Faxon botanical prints of "Liriodendron Tulipfera.l." and "Magnolia Foetida" both in a glazed mounted frame. (24cmx27cm)

MICHAELA YEARWOOD-DAN (B. 1994)Maten 2018 signed and dated 2018 on the reverse; signed with the artist's initials and dated '18 on the stretcheroil on canvas79.5 by 59.5 cm.31 5/16 by 23 7/16 in. Footnotes:ProvenanceAcquired directly from the artist by the present owner in 2019Bursting with energy, Maten, 2018 is an exuberant example of Michaela Yearwood-Dan's highly coveted abstract paintings. Lush strokes of paint sweep across the surface of the canvas, with daubs of colour and peaks of impasto that have been applied thickly with a palette knife. The whimsical surface is juxtaposed against strong brushstrokes of dark blue, drawing the eye to all areas of the painting with a sense of movement and lyricism. As with many of her paintings, Maten also holds a reflective quality, where the viewer can't help but be drawn into the world of the artist. Working across various media, Yearwood-Dan's paintings, prints and ceramics are transcendent and organic pieces that are a joy to behold. There is something very powerful and feminine about her compositions in the way that they explode boldly from the surface with swirling marks, botanical motifs, abstract landscapes and text referenced from poetry or song lyrics. Utilising rich colour and lush brushstrokes to evoke sensations, Yearwood-Dan creates a sumptuous energy which references her Black heritage, femininity and personal narratives. These depictions are also political, with a nod to, and celebration of queer identity which can be seen in the bright colours of the lesbian and bi-sexual flag, or the historic symbolism associated with pansies and carnations, the latter made famous by Oscar Wilde in 1892 when the poet and playwright instructed some of his friends to wear green carnations on their lapel as a secret gay symbol. Creating her own unique visual language, Yearwood-Dan has garnered attention as one of the rising stars of the international contemporary art scene. With solo exhibitions in New York and London and works featured in prominent public collections such as the Institute of Contemporary Art Miami, Florida and the Crocker Art Museum, Sacramento, Maten is a captivating example by one of the most exciting young artists working globally today.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Midy, T.: Botanique Illustre de la Jeunesse. Nouvelle Edition. Paris, a. Gho u. A. Lahure 1881. Mit 8 chromolith. Tafeln. Gepr. Olwd. mit goldgepr. Rücken (berieb., fl.) - Tafeln tlws. mit Bleistift mit Raster überzeichnet. ╔Dabei: Enderes, A.v.╗ Frühlingsblumen. Mit einer Einleitung von Prof. Dr. M. Willkomm. Lpz. u. Prag, Freytag u. Tempsky 1883. Mit 40 C hromolith. Tafeln. Hlbldr. d. Zt. mit Rückenverg. ╔Sterne,C.╗ (d.i. E. Krause). Sommerblumen. Eine Schilderung der heimischen Blumenwelt. Lpz. u. Prag, Tempsky u. Freytag 1884. Mit 77 farb. Abb. Hlbldr. d. Zt. mit goldgepr. Rückent. (berieb.). ╔Sterne, C.╗ (d.i. E. Kraus). Herbst- und Winterblumen. Lpz. u. Prag, Tempsky u. Freytag 1886. Mit 71 farb. Abb. Olwd. mit goldgepr. Titel u. Deckelill. (le. best.). ╔Hochstetter, C.F.╗ Populäre Botanik. 2. Teil. Stuttgart, Löslund u. Sohn 1831. Mit zahlr. farb. Tafeln. Läd. Hlbldr. d. Zt. mit Rsch. - Tlws. stark fl. ╔Ulitzsch, C.A. (Hrsg.)╗ Botanische Schattenrisse. Erstes u. zweites Heft. Lpz. u. Torgau, Rabenhorst u. Ulitzsch 1796-97. Mit 79 Tafeln. OU (läd., ausgebessert, Rücken erneuert, fl.). - Gebräunt, fl. Wurmfraß. ╔Loddiges u. Son (hrsg.)╗ The Botanical Cabinet. London, Cornhill, Rodwell u. Martin 1821. Bd. 6 (v. 20). Mit 99 (v. 100) gest. handkol. Tafeln. Hlbldr. d. Zt. mit goldgepr. Rückent. u. Rückenverg. (berieb.). ╔The Florist`s Journal╗ for the year 1845. London, A. Adlard. Mit zahlr. handkol. Tafeln. Gepr. Lwd. mit Deckelv.ígn. u. goldgepr. Rückent. (berieb., fl.). - Gering stockfl. ╔ Loddiges,C.╗ The botanical cabinet. Part 90. London 1824. mit 5 kolor. Kupfertaf. 12 Bl. Text. OU. (Tls. randrissig, gebräunt, Kap. mit Fehlstelle). - Tls. lose u. stockfleckig. ╔Sammlung von 132 Tafeln╗ mit handkol Pflanzendarst. Hlbldr. d. Zt. (berieb.) - Tafeln tlws. le. fl.

CHARLES RENNIE MACKINTOSH (1868-1928) 'LAVANDER, WALBERSWICK', 1915 pencil and watercolour, inscribed, dated and signed with initials LAVANDER/ WALBERSWICK/ 1915/ CRM/ MMM, later framed Dimensions:sheet size 28.8cm x 22.5cm (frame 46.3cm x 38.7cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: During a ten-month period in 1914-1915, Charles Rennie Mackintosh created his celebrated series of botanical watercolour studies at Walberswick on the Suffolk coast. Believed to number around 30-40 in total, these works are loved for their meditative, skilful delicacy, and the way they encapsulate the extraordinary marriage of technical and creative vision that Mackintosh possessed. Few beyond Mackintosh are capable of perceiving, much less conveying, both the random beauty and extraordinary symmetry and inherent structural design of the natural world. By 1915 he had married Margaret Mackintosh, and her initials ’MMM’ begin to appear on his drawings, denoting, like a diary entry, that she was present with him when these sketches were created. ‘Lavander, Walberswick’, the most detailed of the sketches offered here for sale, beautifully illustrates his technical prowess and ever-elegant hand. Creating a sense of texture by highlighting just a few upper leaves with the most delicate of washes, our eye then focuses on the accomplished pencil mark tangle of unfurling leaves towards the base of the stem. One contemporary source, an article by author Desmond Chapman-Huston, suggests that Mackintosh produced this proliferation of flower studies for a book commissioned by a German publisher, the outbreak of war preventing its publication. It could also have been a deliberate move towards more commercial subject matter as Mackintosh had just quit his architectural practice in Glasgow. He left the recession-bound city under a cloud; his reputation tarnished by rumours of alcoholism. From what we can infer from this beautiful series of drawings, the tranquillity of the coastal village provided him with an opportunity to re-sharpen the clarity of his artistic vision, with many followers holding the Walberswick sketches among his finest work.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

A pair of Ceramica Navia of Seville terracotta tiles polychrome decorated with bullfighters 14 cm square, an Henriot Quimper oval bowl 27 cm x 20 cm, a faience lidded inkwell of Isnik style and a set of four Drostdy ware hand painted plates with botanical study decoration 26.5 cm diameter CONDITION REPORTS The bowl only: has several hairline cracks running down from the rim. Has an incredibly dull sound when tapped. Also has several chips/losses to the glaze on the top rim not associated with the cracks. Very dirty, in need of a clean, general wear and tear conducive with age and use - see images for more details

Arnold (E. C.). Memories of Cley, 1st edition, Eastbourne: Baskerville Press, 1947, colour and monochrome plates, original green cloth gilt, large 8vo, together with Blunt (Wilfrid). The Art of Botanical Illustrations, (New Naturalists series), 1st edition, London: Collins, 1950, colour and monochrome plates, original green cloth in slightly rubbed and marked dust wrapper, plus Ennion (Eric). The House on the Shore, the story of Monk's House Bird Observatory, 1st edition, London: Routledge & Kegan Paul, 1959, monochrome plates and illustrations, original cloth in price-clipped dustwrapper, 8vo, and others on British ornithology, including G. & A. Marples, Sea Terns or Sea Swallows, Country Life, 1934, Paul Trodd & David Kramer, The Birds of Bedfordshire, 1991, Ralph Chislitt and G. H. Ainsworth, Birds on the Spurn Peninsula, edited by Michael Densley, Leeds: Peregrine Books, 1996, James M. Harrison, Bristow and the Hastings Rareties Affair, 1968, etc., all 20th-century publications, mostly original cloth in dust wrappers, including some paperbound editions, 19 volumes form the Islands series published by David & Charles, mostly 8vo (approximately 150 volumes)QTY: (6 shelves)

D'Ancona (Mirella Levi). The Garden of the Renaissance, botanical symbolism in Italian painting [Arte e Archeologia studie e documenti 10], Firenze: Leo S. Olschki, 1977, numerous monochrome illustrations, original red cloth, folio, together with:Berenson (Bernard), The Drawings of the Florentine Painters, 3 volumes, collector's edition, 2nd impression, Chicago: University Press, 1970, numerous monochrome illustrations, original uniform gilt decorated blue cloth in slipcase, large 4to, plusDempsey (Charles), The Portrayal of Love, Botticelli's Primavera..., 1st edition, Princeton: University Press, 1992, colour & monochrome illustrations, original cloth in dust jacket, 4to, and other modern Renaissance art reference & related, including publications by the Universities of Yale, California, New York, Cambridge, Penn State, mostly original cloth in dust jackets, G/VG, 8vo/folioQTY: (3 shelves )

* English playing cards. Standard pattern, Thomas De La Rue: type D2, circa 1834-1840, 51 (of 52, without ace of spades) letterpress playing cards (French suits), pip cards lightly bowed, square corners, versos terracotta small scroll diagonal pattern, each card 94 x 64 mm, together with: Standard pattern, De La Rue: type D3, circa 1840-1861, a complete deck of 52 letterpress playing cards (French suits), spotting, soiling and staining (especially to pip cards), square corners, versos green with arms of Queen Victoria and Prince Albert in gold, each card 93 x 64 mm, plus: The Victoria, De la Rue: type D3.1, circa 1840-1860, a complete deck of 52 smaller sized letterpress playing cards (French suits), some light toning, minor marks and spots (mainly affecting pip cards), 2 of diamonds with few small dark brown flecks, square corners, versos delicate blue floral pattern, each card 89 x 57 mm, with two other De La Rue decks: type D4, 51 (of 52, without 8 of clubs), with Old Frizzle ace of spades, versos pink with dark pink arms of Victoria and Albert; and type D4.1, 52 complete, with type A10 exportation ace of spades, versos pale green with Owen Jones simple botanical design in gold, with (probably) original box (defective) and defective wrapper 'Third Quality, Moguls', 15 or 16 cards from each deck mounted with photo corners onto 5 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, each board 54.5 x 40 cm and similarQTY: (5)NOTE:Provenance: Collection of Dudley Ollis.Lodge (1991) pp.8-11 for the De La Rue Standard Pattern types. The Royal arms back design (on the type D3 & type D4 decks), originally produced for the wedding of Queen Victoria and Prince Albert in 1840, was reused several times and likely discontinued on the death of Prince Albert in 1861.

* Botanical Watercolour. Study of Succulents, early 19th century, watercolour, showing three different succlents comprising: Stapelia Sororia Varietas, on laid paper with watermark of shield with a double X in the middle and letters D,C & B; Stapelia Sororia Varietas Alia, on laid paper with watermark 'D&CBlauw', some light spotting; and Stapelia Glauca, with some damp staining to upper edge, all approximately 42 x 26 cm, all mountedQTY: (3)

* Botany. A collection of approximately 650 prints, 19th & early 20th century, engravings and lithographs of botanical specimens, including examples by or after Step, Pratt, Lowe, Schroter, Sowerby, Rhind, Good and Reichenback, various sizes, good conditionQTY: (approx.650)

A 19thC French faience moon vase, the Porquier Beau Botanical and scene Breton, with lizard handles, signed Masies De Ploare to underside, 26cm high, 25cm wide.

A set of five Porquier Beau Faience botanical cups and saucers, each with a shaped edge, handwritten mark to underside.

A 19thC French faience HB Quimper lidded vase, with potpourri top in the Bretonne and Botanical pattern, signed HB Quimper, 46cm high.

A 19thC Porquier Beau Faience botanical plate, 25.5cm diameter.

A 19thC Porquier Beau large planter, with botanical and gargoyle decoration, 22cm high.

A set of 3 vintage botanical prints. Reframed. 42x54cm

CURTIS, William: The Botanical Magazine, or flower-garden displayed, volumes: 1-28, bound in 14. Fry & Couchman, 1787-1808. With 1184 hand coloured plates. Later half leather & marbled boards (the binding matches Sowerby's English Botany). Very good and clean. (14)From the Paul Bentley collection of maps and atlases.

EDWARDS, Sydenham: The Botanical Register: Consisting of Coloured Figures of Exotic Plants, Cultivated in British Gardens; with their History and Mode of Treatment. Volume 1 only. J Ridgway, 1815, with 133 Hand coloured Plates (12 folding). PP: xi, (I)b, 9-291 leaves, i.e. 566 pages+ (iii) index. Half polished calf & new endpapers.From the Paul Bentley collection of maps and atlases.

A H & R.Daniel porcelain tea and coffee service in rococo style the teapot with rose finial and dragon handle, painted with botanical subjects reserved on gilt bordered apricot and apple green grounds, pattern no. 6683, circa 1840, forty three pieces including covers [damage to slop bowl and serving dish, minor damage to teapot and three cups].

Two early 20th Century Chinese blue and white porcelain platter tray plates of canted oval form having traditional hand painted blue and white decoration depicting botanical sprays, one with a farmstead scene. One marked 'Select Flowers / EJ - Opaque China / J. Jones, the other marked 'Mill Stream - Made In England by Johnson Brothers - All decoration under the glaze detergent & acid resisting colour'. Largest Measures 43cm x 35cm.

Edwardian Floral Postcard - A collection of approximately 252 Edwardian floral botanical postcards. All showing flowers (some fruit). Postally used with EVII stamps 1901-11 loose and in two albums.

An album of Edwardian circa 1900s and later greetings cards / postcards to include examples for Birthday, Easter, Christmas. With examples featuring early photographs of children and actresses, botanical studies and rural British scenes.

A Collection of Various Spode Blue Room Collection Tea Trios to include Georgian Series 'Botanical', 'Willow'. 'Rome'. 'Floral', 'Girl at Well' and 'Woodman' together with Spode Edwardian Childhood Plates, Bowls, Cups and Saucers Etc

A Collection of Various Stoneware to comprise Large Barrels, Brewers Bottles to include White Bros. Botanical Brewers, Chapel Street Wolverhampton and Jones's Herbal Beverages, Post for Frank Cooper's Marmalade, Jam Etc, Some Pieces with Condition Issues

A Portmerion botanical garden watering can, plated bottle coaster, Wade tortoise, Wedgwood Jasperware bowl

A French giltmetal mounted yellow ground porcelain dish, a similar plate and a 19th c English porcelain blue ground botanical comport, various sizes (3) Good condition

The Botanical Magazine or Flower-Garden displayed: in which the most ornamental foreign plants cultivated in the open ground, the green-house, and the stove will be accurately represented in their natural colours ... Continued by John Sims. Bände 17, 33-35, 41 und 42 der Reihe. Mit zusammen 269 kolorierten, teils gefalteten Kupfertafeln. 23 x 14 cm. Halbleder d. Z. (teils beschabt, bestoßen, teils mit kleinen Fehlstellen am Rücken sowie VDeckel Lose bei Band 17 und 41). London, Stephen Couchman, 1803-1815.Nissen 2350. Henrey 472. Vgl. Pritzel 2007. - Der Botaniker, Apotheker und Entomologe William Curtis (1746-1799) begründete 1787 das "Botanical Magazine", vermutlich eine der schönsten Blumenzeitschriften aller Zeiten, und blieb bis zu seinem Tod dessen Herausgeber. Danach wurde die Reihe von John Sims fortgeführt. Die Veröffentlichung richtet sich an "ladies, gentlemen and gardeners, as wish to become scientifically acquainted with the plants they cultivate" (Untertitel). Jede besprochene Pflanze wird abgebildet und in Anlehnung an die von Linné begründeten Kriterien wie die Ordnung, die Gattung und die spezifischen Eigenschaften erklärt. Zusätzlich folgt jeweils ein kurzer Abschnitt über die Zucht und Standorte sowie deren Bedingungen. Die in leuchtenden Farben kolorierten Kupfertafeln stammen von Künstlern wie James Sowerby, Sydenham Edwards, und William Kilburn. - Vorsätze leicht leimschattig, Innenstege teils angeplatzt oder verstärkt sowie teils leicht stock- und fingerfleckig (Darstellungen minimal betroffen). Band 35 Titel mit Einriss am Innensteg.

A set of three botanical prints. Copper engravings and chromolithographs. Framed and glazed. H.35 W.25 cm.

A portfolio of prints including eight botanical illustrations: two framed early 19th century hand-coloured engravings and six vintage prints in colours after Elizabeth Cameron; together with other prints

19th century French porcelain mantle clock in a flamboyant blue and gilt case and stand with further painted botanical scene with eight day drum movement - FL Hauseberg of Paris, set beneath a glass dome, (af dome cracked) 40cm high

Botanical Interest - Familiar Garden Flowers, by Hulme and Hibbard, four volumes, further books on different plant types

Botanical Interest - Dictionary of Fungi, Manual of Soil Fungi, Manual of Bacteriology, 1890, etc