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Click here to subscribeThe Trotter Service - a pair of Derby shaped circular plate, well painted in the manner of Moses Webster, with a spray of colourful summer flowers, the border with further botanical specimens divided by panels of green, moulded with scrolling leaves picked out in gilt, 22cm diam, red crown, crossed batons and D mark, c.1820-25 Condition Report: some wear to green panels.
19th century Botanical studies, by Samuel Anderson of Whitby, Fellow of the Linnean Society in 1854, he discovered blushing peat moss (Sphagnum Molle), to include a leather bound note book of pen and ink illustrations for a glossary of botanical terms and a book of notes on Flora Moss, together with other books owned by Anderson and portrait photos
Bean, W. J. “Trees and Shrubs Hardy in the British Isles” eighth edition four-volume set, John Murray 1976; Clapham, A.R., Tutin, T.G., Warburg, E.F. “Flora of the British Isles”, University Press, Cambridge 1957; Stearn, William T. “Botanical Latin - History, Grammar, Syntax, Terminology and Vocabulary” Thomas Nelson & Sons, 1966; Neil Chrystal, R. “Insects of the British Woodlands”, Frederick Warne & Co, London 1948.
FRANCOIS PALAMEDE DE SUFFREN (1753-1824) BOTANICAL STUDIES all inscribed and numbered 1, 13, 65, 71, 77 or 80 upper right, watercolour, 29.5 x 22cm and c (6) ++Lightly time stained, several more than others, some with tape or mount scorch marks, one slipped in the mount, in non matching frames
A PAIR OF DERBY CRESTED BOTANICAL PLATES FROM THE DUKE OF DEVONSHIRE SERVICE, C1810-15 painted with different specimens and the Cavendish crest in gilt rim, 25cm diam, painted mark and titles Convolvulus Major or Convolvulus Tricolar Small Convolvulus in red script, gilder's number 29 in puce Provenance: William Cavendish, 7th Duke of Devonshire (1808-1891), by whom possibly inherited from his grandfather George Cavendish, 1st Earl of Burlington ( 1754-1834); thence by descent until sold in the sale of 'A considerable portion' of the contents of Compton Place, Eastbourne, Summerfield & Day, auctioneers, 1954. Eight plates from the same service are illustrated Twitchett (J) Derby Porcelain 1748-1848, Woodbridge 2002, col plt 81. ++One plate with insignificant flat chip on the back of the rim at 5 o'clock not normally visible
A PAIR OF DERBY CRESTED BOTANICAL PLATES FROM THE DUKE OF DEVONSHIRE SERVICE, C1810-15 painted with different specimens and the Cavendish crest in gilt rim, 25cm diam, painted mark and titles Love Lies Bleeding Amaranthus or Amaryllis Somieufis Gurnsey Amaryllis in red script, one also with gilder's numeral 2 Provenance: William Cavendish, 7th Duke of Devonshire (1808-1891), by whom possibly inherited from his grandfather George Cavendish, 1st Earl of Burlington ( 1754-1834); thence by descent until sold in the sale of 'A considerable portion' of the contents of Compton Place, Eastbourne, Summerfield & Day, auctioneers, 1954. Eight plates from the same service are illustrated Twitchett (J) Derby Porcelain 1748-1848, Woodbridge 2002, col plt 81. ++One plate with small filled rim chip at 5 o'clock; both with slight scratches and wear
A PAIR OF DERBY CRESTED BOTANICAL PLATES FROM THE DUKE OF DEVONSHIRE SERVICE, C1810-15 painted with different specimens and the Cavendish crest in gilt rim, 25cm diam, painted mark and titles Common Jonquil or French Marigold in red script, gilder's numeral 2 in red Provenance: William Cavendish, 7th Duke of Devonshire (1808-1891), by whom possibly inherited from his grandfather George Cavendish, 1st Earl of Burlington ( 1754-1834); thence by descent until sold in the sale of 'A considerable portion' of the contents of Compton Place, Eastbourne, Summerfield & Day, auctioneers, 1954. Eight plates from the same service are illustrated Twitchett (J) Derby Porcelain 1748-1848, Woodbridge 2002, col plt 81. ++One plate with minor flat chip on the back of the rim at 9 o'clock, not normally visible
THREE DERBY PLATES, C1800-05 comprising a crested botanical plate from the Duke of Deveonshire Service, painted with a named specimen of the orange tree, a green bordered plate with central landscape medallion, painted in the manner of George Robertson and another painted in monochrome with flower sprays in fluted yellow border, 23-24.5cm, painted mark 197 and title in red script, painted mark, and title Bala Lake Merionethshire Wales in blue script or puce painted mark and 242 respectively ++Yellow bordered plate with localised wear the two other plates with professional restoration
A STAFFORDSHIRE BOTANICAL DESSERT SERVICE, PROBABLY SAMUEL ALCOCK, C1840 each piece painted with several flowers in apple green and gilt border, comport 38cm over handles, pattern 2/2042 (21) Provenance: Lucy Player (see lot 145), by whom bequeathed to a cousin, C L J Humphreys; thence by descent. ++Foot of comport broken off and restuck, some pieces slightly stained or worn, foot of one of the stands cracked
Important and fine early 19th century Flight & Barr Worcester Botanical part dessert and dinner service - each piece finely polychrome painted with different flowers - the service comprises ten 24cm dinner plates (marked Barr Flight Barr), twenty-one dessert plates, large oval fluted fruit dish, 36cm, four oval fluted dishes, 30cm, four fluted square dishes, 24cm, four circular fluted dishes, 20cm, two two handled sauce tureens and covers, 18cm high - each piece marked 'Flight & Barr Worcester manu. to their Majs' (49 pieces) CONDITION REPORT Condition is overall very good, one oval dish with hairline to base, minor losses to footrims. Some wear to gilding although most pieces are good, some slight wear to painted ornament, particularly at the angles or fluted pieces, also some surface scratches to a few pieces, certain colours- greens yellows, have oxidized or deteriorated on a few pieces, basically good
*Turner (William, 1789-1862, & others). Album of watercolour, wash and pencil views of Oxford, Oxfordshire and the South of England, circa 1822-71, a mid-19th century folio album containing approximately 50 various watercolour views, pencil drawings, by or attributed to William Turner of Oxford and other artists, including At Botley, Berks., Botley Old Mill, Forest Hill, Magdalen College Tower, Saltwood, Kent (1842), St. Lawrence, Isle of Wight (1842), Alderley Rectory (1839), Malvern, Chichester (1842), Sedgley, Staffordshire, Tintern, Malver, The Old Greyhound Inn, Gravel Walk, Magdalen College, Iffley Church, Littlemoor Church, as first built by Rev. J.H. Newman & his mother, Blenheim (11 July 1834), Monument, Blenheim, Oxford from Holywell, Pembroke College Dining Hall, etc., many executed in blue, brown and grey watercolour wash, 5 botanical studies (initialled S.G., E.M.P. and LAM), 2 pencil drawings entitled The Hermit and Gravestone Radley Church, by W.A. Delamotte (1775-1863), Ruins of Beaumont Palace, Oxford, by Miss Bathurst, Ethorpe, Oxfordshire by Heythrop, Witney Church by Mackenzie, Iffley Mill by R. Mingaye, 1869, Front Entrance of New College, Oxford, by A.J. Mingaye, 1871, Alfred Street, St. Giles's, Oxford, by A. Mingaye, 1864, 3 watercolour views by R. Davidson of Godstow Nunnery, near Oxford, 1854, Remains of the Chapel of Godstow Nunnery, 1855, & Remains of Newby Abbey, Oxford, 1855, plus 44 various photographs of similar locations, including Worcester Cathedral, Malvern, Little Malvern Church, Newlands, Gloucester Cathedral, Tewkesbury, Goodrich Castle, Entrance to Dugdale, Ludlow, Witney and Bury St. Edmunds, all mounted into album leaves, various sizes, original brown half morocco gilt, rubbed and some wear, with backstrip detached, folio (34.5 x 25.5 cm, 14 x 10 ins) (1)
*Watercolour Album. An album of original watercolours and drawings, prints and photographs, circa 1838-41, and later, an early Victorian album containing 19 watercolours, and 20+ pencil drawings, including 4 studies of the military costume of officers in the British Army in India (including one cavalry officer), various views in Europe, including France, Switzerland, Italy, Greece, Gibraltar, Sorrento, Staubbach Falls, several botanical studies, a drawing of a doorway at Caius College, Cambridge, a watercolour view of St. Mary Abbots Church, Kensington, dated 1838, a small watercolour view of a British residence in India, circa 1840, inscribed to verso 'Done by G.J.Clarke Sir H. William's & dear Father's house', 3 early salt print photographs (2 portraits and one small view of a house by a river in India), various sizes, a few loose, all edges gilt, contemporary gilt-decorated dark green morocco, heavily worn, with upper cover missing and some loss to spine, rear cover detached, 4to (285 x 230 mm, 11.25 x 9 ins) (1)
CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) THE ROAD THROUGH THE ROCKS, PORT VENDRES Signed, watercolour 27.5cm x 38cm (10.75in x 15in) Provenance:Dr M Poleres McCunn (Mrs Aiden Thomson) Dr Thomas Howarth, Christie's 17 February 1994, Lot 76 Exhibited:McLellan Galleries, Glasgow, Charles Rennie Mackintosh, Margaret Macdonald Mackintosh, Memorial Exhibition 1933, no. 57 School of Architecture, University of Toronto, Charles Rennie Mackintosh, Works from the Collection of Professor Thomas Howarth, 1967, no. 54 Art Gallery of Toronto, Charles Rennie Mackintosh, Memorial Exhibition, 1978, no. 163 National Galleries of Scotland, Charles Rennie Mackintosh in France, 2005, no.24 Literature:Roger Billcliffe, Mackintosh Watercolours, 1978, ill.p. 140 Note:Roger Billcliffe dates this watercolour c.1926-27 and points out that ' This is probably Mackintosh's earliest surviving view of Port Mailly on the outskirts of Port Vendres.' 'This man ought to be an artist!' - Sir James Guthrie, on seeing Charles Rennie Mackintosh's watercolours at Glasgow School of Art. In Mackintosh Watercolours, Roger Billcliffe indicates that this inferred division between art and architecture was the opposite of how Mackintosh viewed his work, but it is an interesting introduction to the particular artistic talent of a man still known best for his architectural designs. Mackintosh drew throughout his life. Earlier in his career these drawings recorded details to be utilised in his design ideas and work, but as he aged he began to use pencil and watercolour to create finished artistic works in their own right, starting with the imaginative, symbolist pictures of the early 1890s and moving through a focus on botanical subjects in his later works. The Road through the Rocks dates from c. 1926-27, following his move to the South of France on the advice of friends, particularly the Scottish Colourist painter, J.D. Fergusson. Here he turned his unique approach to the countryside, where the interaction between the natural and man-made intrigued him. In the work seen here, this man-made intervention is one of the forts stationed along the coast and border with Spain. Mackintosh captures both its harmonious insertion into the landscape and the smooth, angular contrast it offered against the undulating hills and jagged cliff edges, capturing the seemingly organic pattern of man and nature with an architect's eye. The Road through the Rocks was included in the 1933 Memorial Exhibition dedicated to Charles and his wife, Margaret Macdonald Mackintosh, where nearly all the later watercolours were purchased by personal friends. It was later in the collection of Professor Thomas Haworth, an eminent collector and promoter of Mackintosh's work, who amassed the largest private collection of his work, as well as publishing many works on Mackintosh.
Assorted historical ephemera, drawings and prints including an early copy of the death warrant of Charles I, hand written, listing the names of the regicides and their fates; a letter dated august 16th 1843 by John Bright, the great British radical (1811-89); a letter dated 1834 by Richard Cobden, English manufacturer, radical and associate of Bright (1804-65); a letter from Eleanor Charlotte Butler (1739-1829) and Sarah Ponsonby (1755-1831) 'The Ladies of Llangollen' to a general who's name has been expunged, possibly Wellesley, later Duke of Wellington; a number of small drawings; botanical prints; fashion prints etc, all contained within an A4 display folder (14)
*Eldridge (Mildred Elsie, 1909-1991). A collection of seven botanical drawings, pencil and watercolour on paper, two signed and one dated 1969 to lower margin, versos with artist's name and address in pencil in her hand, approximately 16 x 12cm (6.25 x 4.75ins), mounted Depicting: thistles; birds' nests amongst foliage (two studies); wheat; honeysuckle; love-in-a-mist; and polyanthus. Wife of R.S. Thomas, Mildred Eldridge, known as Elsie, was a portrait painter, mural painter, specialist in natural history studies, and illustrator of children's books. She was also a weaver, and produced designs for altar cloths, stained glass windows and wrought-iron chandeliers. She attended Wimbledon College of Art and the Royal College of Art, winning the prestigious RCA travelling scholarship to Italy in the early 1930s. (7)
Scrap albums. A group of 5 various notebooks and albums relating to the Botfield family of Decker Hill, Shifnal, Shropshire, including a manuscript journal of a summer's holiday undertaken by Rev. William Bishton Garnett Botfield and others to Germany, Switzerland and Savoy in 1880, 92 pp. written neatly to album leaf rectos from the original logbooks, contemporary half roan, small 4to, together with one of the original logbooks for the holiday written in pencil, 76 leaves, oblong 12mo, plus a scrap album with photographs, autographs and drawings relating to Aston Hall Auxiliary Hospital, Shropshire, compiled at the end of the First World War, a total of approximately 50 leaves, contemporary padded morocco, spine deficient, plus a botanical notebook compiled by Miss M.E. Howard in 1839, containing pen and ink and watercolour diagrams of plant parts, and an inventory of property at Decker Hill, belonging to the late William Botfield, 1851 (5)
Eleven Royal Worcester lepidoptery dessert plates, circa 1870-90, each finely decorated with indigenous specimens of butterflies and moths in colours, and botanical specimens, with gilded ferns, all painted against a white ground and within a gilded, beaded border, impressed marks, 22.5cm diameter
Sculpture: An extremely rare terracotta figure of Pan by the Compton Pottery early 20th century 72cm.; 28ins high The Compton Potters Art Guild was started by Mary Watts, the wife of G.F. Watts the Victorian allegorical painter. In 1895 work began on the Watts Mortuary Chapel. Designed by Mary Watts, it was to be built from local clay by the villagers of Compton, near Godalming, Surrey. Mr and Mrs Watts were dedicated supporters of the growing Home Arts and Industries Association, a voluntary movement launched by Earl Brownlow in 1885 to revive the dying art of handicraft among the working classes. The Pottery Art Guild made a variety of garden ornaments including pots, sundials and a few rare figurative pieces, winning medals at the Royal Botanical Society and the Home Arts’ highest award, the gold cross. Although not stamped the modelling and consistency of clay would certainly suggest a Compton attribution and this figure is illustrated in the early 20th century Potters Art Guild catalogue. (See engraving )
A set of twelve Royal Copenhagen Flora Danica coffee cups and saucers, each painted in enamels with botanical specimens, printed and painted factory marks, and each cup titled, comprising;Saxifraga aizoides LSagina nodosaOxytropis LapponicaSaxifraga Rivularis LVicia Sativa LOxycoccus palustris PersVeronica ScutellataSarothamnus Scoparius KochStellaria Humifusa RottbErigeron Uniflorus L. B Pulchellus Fr.Ranunculus cymbalaria ParshJasione montana L
Collection of twenty books of Botanical Interest to include; BUNYARD, George and THOMAS, Owen - The Fruit Garden; CLARK, Ernest - A Handbook of Plant Form - Batsford, 1904; CONNOLD, Edward T - British Vegetables Galls - Hutchinson & Co, 1901; WATSON, William - The Gardener's Assistant - six vols and eleven other books (20)
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