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A pair of 18th century Merian blue and white plates painted with specimen flowers within a guilloche rim band with traces of gilt detail, 23cm (9 in) diameter (2) (D) Maria Sybella Merian (1647 - 1717) pioneered botanical paintings which featured caterpillars, pupae and the resulting insects. Her drawings and designs reached China through Amsterdam and the Dutch East India Company. One has a faint hair crack within the foot rim and the other two rim cracks. Both have their gilding rubbed

A 19th century brass pocket botanical microsope, possibly by W & S Jones, turned ivory handle, 10cm long, leather case

A quantity of watercolour pictures and prints including botanical scenes, pastel of a dog, engravings, William Strutt dog drawings etc

Newton (James). A Complete Herbal... Containing the Prints and the English Names of Several Thousand Trees, Plants, Shrubs, Flowers, Exotics..., new edition, 1798, engraved portrait frontispiece, 175 engraved botanical plates, toned and some soiling, one plate with old ink drawings on reverse, rear endpapers and final leaf of index waterstained, contemporary speckled calf, rubbed, minor wear to extremities, 8vo (1)

Album. An album of botanical watercolours by Emily Ledbrook, Welton Lawn, Leamington Spa, Warwickshire, 1906-1924, approximately 170 watercolours of British flowers, many signed or initialled, mostly slot-mounted in pairs or fours on album leaves (a few missing), mostly captioned beneath in neat manuscript with common and Latin names, place, and date, front free endpaper with owner's name and address in ink, stitching broken, original red half roan gilt, worn, with spine deficient and upper cover detached, folio (1)

Bauhin (Caspar). Theatri Botanici sive Index in Theophrasti Dioscoridis Plinii et Botanicorum qui a seculo scriptserunt opera Plantarum Circiter sex Millium ab ipsis Exhibitarum Nomina cum Earundem Synonymijs & Differentijs Methodice Secundum Genera & Species Propones, 2 parts in one, Basel, J. Regis, 1671, first title printed in red and black, both titles with woodcut device, woodcut botanical illustrations to second part, some spotting and browning, annotation and wormholes, contemporary calf, rubbed with some wear to spine, 4to Hunt 319; Nissen 104; PMM 121 (for first edition of 1623). The first scientific system of nomenclature, describing some six thousand species, "it is the begining of a modern 'natural' classification based on general morphology. Bauhinus realized the convenience of the binominal nomenclature which later became a central feature of Linne's system..." (PMM). (1)

Curtis (William). 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, are accurately represented in their natural colours, vols. 1-43 bound in 33 volumes, 1793-1816, 1859 fine hand-coloured engraved plates (two uncoloured), including many folding, generally in very good clean condition, all bound in handsome near-uniform contemporary full tree calf, gilt decorated spines, the first ten volumes slightly rubbed and lightly darkened to spines, the final volume in contemporary half calf with vellum outer corners (slightly chipped to extremities), together with volumes 53-65, 67-100, 102-106 & 108-118, 1826-1892 (lacking only vols. 66, 101 & 107), containing 4445 (of 4664) fine hand-coloured engraved or lithographed plates, occasional minor spotting (generally in very good condition), mostly bound in contemporary half calf, some volumes rebacked, two volumes bound in original cloth with some wear, spines generally rubbed with wear or slight loss to one or two volumes, plus a further 47 bound volumes of the same work, 1894-1983 (lacking vols. 121, 136-138, 141, 143, 149-153 and 157-162), bound in a mixture of contemporary half calf, original wrappers or cloth and four volumes in half morocco, and four index volumes (1817, 1828, 2 copies, and 1956), the first containing the engraved portrait of the author, contemporary calf half calf or quarter morocco, all 8vo Nissen 2350. Henrey 472. A substantial and near complete run of Curtis's Botanical Magazine in 147 volumes, the first 115 volumes of which contain 6304 coloured plates. The plates continued to be hand-coloured up to 1948, with the exception of the period 1909 to 1919 when the illustrations appear largely uncoloured. (147)

*Botany. A mixed collection of thirty engravings, mostly 18th & 19th century, including thirteen framed and glazed engravings with examples by Van Houtte, Von Martius, Weinmann, Curtis, Andrews, Miller and De Bry and three watercolours by Mazelin, various sizes and condition, together with another approximately fifty reproduction botanical prints, various sizes and condition (approx.80)

Loudon (Mrs. Jane). British Wild Flowers, 2nd. edition, published William S Orr & Co., circa 1855, additional half title, sixty (complete as lists), lithographic plates with contemporary hand colouring, very slight spotting, gutta stained on plate 57 by old botanical specimen, two plates with small repaired marginal closed tears, contemporary mottled calf, skillfully re-backed with gilt decorated spine, 4to (1)

Ludwig (Heidrun). Nürnberger naturgeschichtliche Malerei in 17 und 18 Jahrundert, 1st edition, Germany, 1998, numerous black and white illustrations, ex-libris bookplate to front endpaper, original green cloth with inlaid colour illustration, large 8vo, together with Nissen (Claus), Die Botanische Buchillustration Ihre Geschichte und Bibliographie, Germany, 1st edition, 1966, ex-libris bookplate to front pastedown, original gilt-decorated green cloth, boards slightly rubbed, ex-lib. sticker to spine, large 8vo, plus Sprunger (Samuel, [editor]), Orchids from Curtis's Botanical Magazine, CUP, 1986, numerous colour illustrations, ex-libris plate to front pastedown, original green cloth in dust jacket and slipcase, ex-libris sticker to spine, folio, and approximately 60 further volumes of horticultural and botanical reference, some ex-libris with bookplates, mostly hardback publications, many original cloth in dust jackets, G/VG, 8vo/folio (approx. 60)

Curtis (Samuel and Hooker, Sir William Jackson). Curtis's Botanical Magazine; or Flower-Garden Displayed..., volume 39, 1814, and volumes 41 & 42, 1815, volume 39 with title page and twenty-six (only) engraved plates with contemporary hand colouring, including six folding, occasional slight spotting and offsetting, library stamp to verso of plates, a.e.g., contemporary half morocco gilt, disbound, boards detached and lacking spine, 8vo, volume 41 with title page and fifty-six (only) engraved plates with contemporary hand colouring (including three folding), slight offsetting and staining, a.e.g., contemporary half morocco gilt, disbound, boards detached and lacking spine, 8vo, with, Curtis (Samuel),Curtis's Botanical Magazine..., volumes 15 & seven monthly parts from 1863,, New Series, 1842 & 1863, volume 15 with forty-two (only) lithograhic plates with contemporary hand colouring, occasional spotting, a few plates with small closed tears to margins, contemporary printed paper wrappers, disbound, 8vo, the 1863 parts containing thirty-one lithographs with contemporary hand colouring including three folding, original printed paper wrappers, 8vo, plus, Britten (James), European Ferns, published Cassell, Petter, Galpin & Co., circa 1888, title page and thirty chromolithographic plates, slight spotting, hinges broken, text block detached, contemporary half calf, worn, frayed and rubbed with slight loss at head of spine,. sidings stained, 4to Sold as a collection of plates, not subject to return. (5)

Linnaeus (Carl). A System of Vegetables, According to their Classes, Genera, Orders, Species, with their Characters and Differences, Translated from the Thirteenth Edition (as Published by Dr. Murray) of the Systema Vegetabilium of the Late Professor Linneus, volume 1 only, 1st English ed., 1783, half titles, eleven engraved plates, scattered light spotting, previous owner signature to first half title, untrimmed, later half calf, spine slightly rubbed and faded, 8vo, together with An Introduction to the Natural System of Botany: Or, a Systematic View of the Organisation, Natural Affinities, and Geographical Distribution, of the whole Vegetable Kingdom, by John Lindley, 1st ed., 1830, publisher's catalogue bound-in at front, scattered spotting and previous owner signatures, contemporary cloth, rebacked with original spine relaid and label renewed, some fading and light stains, 8vo, plus Colin Milnes' Botanical Dictionary, 1770 (head of title excised) (3)

Botanical Specimens. A folio volume of dried specimens, 1877-1878, approximately 100 leaves, each with one or more specimens neatly mounted together on paper laid down on rectos of album leaves, the majority of specimens with manuscript identification in Latin, some also with name or initials (of collector?), a few specimens missing and some held in place with modern paper strips, most leaves dated at head in manuscript, patterned endpapers, untrimmed, recent quarter calf, folio (1)

Botanical Specimens. British Ferns, circa 1854, seventeen loose folio leaves, each with a mounted pressed fern (two with remains of specimen), each with printed label below giving Latin name and a location in the Lake District: Lodore, St. Bees' Head, Honister Crag, Skiddaw Bank, Ullock Moss, Crosthwaite, Wanthwaite Crags, Barrow Wood, etc., first leaf with manuscript note 'Rocks of Borrowdale Miss Wright Sept 1854', some minor edge-fraying and creasing to leaves, sheet size 45 x 28.5cm (17.75 x 11.25ins), loosely contained in contemporary cardboard portfolio, slightly soiled and worn, gold-printed label on upper cover, slim folio (1)

Purton (Thomas). A Botanical Description of British Plants, in the Midland Counties, Particularly of those in the Neighbourhood of Alcester..., 4 vols. (including Appendix), Stratford Upon Avon & London, 1817-21, 38 hand-coloured engraved plates including 2 folding (some by James Sowerby), occasional spotting and offsetting to text, contemporary red half calf, gilt decorated spines with green morocco title labels, extremities slightly rubbed, 8voNNissen 1571. (4)

Davidian (H.H.). The Rhododendron Species, volumes 1-3, 1st editions, 1982-92, numerous colour and black and white illustrations, all original green cloth in dust jackets, covers slightly rubbed, spines slightly faded, large 4to, together with Batton (Auriol), Flowers of Southern Africa, South Africa, 1986, limited edition 547/4000, numerous colour illustrations, minor toning, original faux green morocco in dust jacket, covers slightly marked and faded, large 4to, and Keynes (Geoffrey), John Ray, A Bibliography, 1951, limited edition of 650 copies, 20 black and white illustrations including portrait frontispiece, bookplate to front endpaper, original green cloth in dust jacket, cover toned and slightly rubbed to head and foot, 8vo, plus other late 19th and 20th-century botanical history and reference, mostly hardback publications, many original cloth in dust jackets, G/VG, 8vo/folio (3 shelves & a carton)

Plumier (Charles). Plantarum Americanarum fasciculus primus [-Decimus], continens plantas, quas olim Carolus Plumierius, Botanicorum Princeps detexit, eruitque, atque in Insulis Antillis ipse depinxit. Has primum in lucem edidit, concinnis descriptionibus, & observationibus, aeneisque tabulis illustravit Joannes Burmannus, 1st edition, Amsterdam, Sumtibus Auctoris, 1755, 10 parts bound in one volume, title printed in red and black, 262 full-page copper engraved plates, including one with hand-colouring, contemporary quarter calf, rubbed and a little wear with joints partly cracked, large folio (44 x 27 cm) Nissen BBI 1547. Sabin 63459. Sitwell, Great Flower Books 70. Hut 554. The French botanist Charles Plumier (1646-1704) undertook three botanical expeditions to the West Indies, the last two as the French King, Louis XIV's appointed botanist. He was one of the first to describe the native plants of America, the present work being a selection by the Dutch botanist Johannes Burmann, Professor of Botany at Amsterdam. (1)

A small gilt framed wall mirror, and various framed and glazed pictures and prints, including botanical and oriental studies

A set of six reproduction ballooning prints, four botanical prints and a print of Menton after Sir Winston Churchill

Ceramics including Carltonware dishes, Portmeirion 'Botanical Garden' small vase etc

After Alan Ingham, October Mist, signed and titled, colour print, no. 115/395, 22cm x 56cm, also, Jean Claude Simon, Botanical Study, signed and dated 2004, watercolour, 30cm x 20cm and an etching by Walter Towers, Paisley Abbey, (3).

A quantity of unboxed mostly silver plated cutlery together with a further quantity of stainless steel knives, a cased set of fish knives and forks with double struck shell and thread handles, a pair of framed Victorian botanical studies, a boxed cake trowel with double struck silver Kings Pattern handle, etc (silver items displayed behind cabinet opposite)

A collection of 19th century ceramics including a pair of Staffordshire spaniels with black and white painted patches, seven dessert plates with painted botanical decoration within a pink and gilt border, dessert comport with painted rose panel within a turquoise and gilt border, a blue and white jug of heart shaped form, etc

A pair of coloured botanical prints of a narcissus and an iris after Redoute, 66 x 47 cm approx together with eleven further framed coloured prints of botanical subjects including fruit, etc in various frames

A set of five early 20th century German coloured lithographs of botanical subjects, signed in pencil bottom right Dienst Braun and inscribed with the name of the plant depicted including poinsetta, berberis, etc, 31 x 21 cm approx in oak frames with gilt slips

An 18th Century Botanical Picture in the Original Carved and Gilded Oval Frame. 32x38cm

Various 19th century botanical prints and other etchings (8)

SCRAPS OF NATURE ETCHED BY ROBERT BRANDARD, Art Union of London 1864, 'Materials for a New Style of Ornamentation consisting of Botanical Subjects and Compositions Drawn from Nature' by H. Whitaker, 1849, A/F, 'The Art of Sketching From Nature' by Philip H. Delamotte, 1888 and 'British Fresh-Water Fishes' by The Rev. W. Houghton, published by William Mackenzie (4)Buyers - for shipping pricing on this lot, visit www.cuttlestones.co.uk/shipping Condition Report:Brandard - large loss on spine, stained boards, foxing - some plates affected others not Whitaker - disbound, at least 7 plates missing, foxing throughout Delamotte - frontispiece missing, boards discoloured and stained, foxed British Freshwater Fishes - damage to spine, discolouration and marks to boards, frontispiece detached, some foxing

GILLIAN BARLOW (1944-) "Chaenomeles Speciosa Nivalis", botanical still life study, watercolour heightened with white, bears "Spinks of London" label verso, dated 1995, 32 cm x 25 cm (ARR)

Four original watercolour and gouache paintings including a landscape and three botanical studies together with two botanical prints in pink frames (6)

CULPEPER, N. Culpeper's English Physician, and Complete Herbal. ed. E. Sibly. London. 1807. Fo. Frontis. port. 2 vols. in 1. 41 plts. including 28 of 29 botanical plts. in b&w. 1/2 bds. scuffed.

Silver trumpet vase, two silver candlesticks and other metal ware, a quantity of pebble and costume jewellery, a novelty taxidermy alligator skull together with 1st edition book His Little Royal Higness by Ruth Ogden and various botanical prints.

A FINE FIGUREHEAD RECOVERED DURING THE ATTEMPTED SALVAGE OF THE PRUSSIAN BRIG GEORGE FORSTER, WRECKED UPON THE GOODWIN SANDS, 30TH NOVEMBER, 1856 carved from solid elm with laminated arms as a half-length portrait depicting George Forster wearing a braided coat with finely carved jabot and hair, terminating in a scroll, faintly inscribed to front GEORGE / FORSTER / Wrecked on / Goodwin / Sands / March 30th 1830 [sic] -- 50in. (127cm.) high Provenance: Until recently this figurehead adorned the True Briton public house, Folkestone, where it had resided for an unknown period of time. The Times for 1st December, 1856 reported the grounding of the Prussian ship George Forster the previous day, 30th November - one of six groundings between September and December that year. At the time it was stated that she was laden with timber and that steam tugs and lifeboats were standing by as it was "feared she would become a wreck". Both her main and mizzen masts had been cut away in an effort to re-float her at the next high tide and it seems highly likely that this figurehead - a weighty adornment when every ounce mattered - was removed at the same time in a last, desperate attempt to save the vessel. In the event it was all in vain as the ship broke her back and became a complete loss, although her crew was entirely saved. George Forster (1754-94) was born near Danzig in what was then Polish Prussia to a family that had British antecedents. His father Johann, a reluctant cleric, took every opportunity to expand his travel and scientific knowledge and his enthused son soon followed suit. In 1766 the pair travelled to London in search for an appropriate position and, on their arrival, the elder Forster established contact with other German-speaking clergy and intellectuals in London. Among them was Carl Gottfried Woide, the Lutheran preacher and man of letters, who helped them find lodgings in Denmark Street and establish contacts within the British scientific and scholarly communities. In 1772 he was engaged to replace Joseph Banks as naturalist on James Cook's second Voyage of Discovery in the Resolution, and took young George along as his assistant. The voyage took the Forsters round the Cape of Good Hope to New Zealand, Tahiti, Tonga, and south beyond the Antarctic circle. George Forster's later reputation was based largely on the descriptions of the voyage he published after their return in 1775. The first of these was a botanical work, Characteres generum plantarum... MDCCLXXII-MDCCLXXV, published together with his father, which earned him election to the Fellowship of the Royal Society. A Voyage Round the World, in His Britannic Majesty's Sloop, Resolution (1777), which Forster published after his father had been denied the opportunity to write the official account of the voyage, had much greater impact. In 1779 he returned to Germany where he held several academic posts and from April to June 1790 he undertook a further journey, accompanied by Alexander von Humboldt. This time be travelled along the Rhine, through the Low Countries, and on to London, returning through revolutionary France and Forster's account of the journey was held in great esteem by contemporaries. Forster remained in Mainz after the occupation of the city by French revolutionary forces in 1792, becoming active in Jacobin circles. A supporter of the incorporation of the west bank of the Rhine into the French republic, in early 1793 Forster was elected deputy for Mainz to the national convention in Paris. His writings about the revolution were significant, if highly contentious, contributions to its reception in the German-speaking world. He died suddenly in Paris on 10th January, 1794 at the age of 39. It is not surprising that such a famous and significant character was honoured with the name of a ship by his fellow countrymen. The George Forster figurehead in Perspective The world of Ships Figureheads can be divided in to roughly four main subject forms: Female, Male, Creatures and Billets-types, each one having a number of subdivisions. Whilst it is no surprise that surviving female figureheads out number males by at least five to one, the vast majority of male figureheads are from unknown vessels, possibly depicting a forgotten vessel's owner or local dignitary; they represent the epitome of late Georgian and early Victorian gentlemen yet, occasionally, a male figurehead survives to show that exceptions to the rule can be found, and the George Forster is one such figurehead. His remarkable state of preservation, due in part to the fact that he has been carved from a solid block of elm, is an indication of high quality coupled with durability. Laminated yellow pine was used for the vast majority of figureheads at this date (around 1830) and was a lighter, less resilient wood, vulnerable to rot and splitting. The use of elm is significant in allowing the carved detail to be as crisp and sharp as the day he was carved. The carver would have relied on pictorial references supplied by the ship's owner, a number of contemporary portraits of both George and his father have survived, plus a number of illustrations published after his death, giving the carver ample reference material to create a portrait carving that has been painted almost to life. Great care and sensitivity has been taken with the face and hair and we see a handsome young man brimming with confidence that belies his tragic death, and particular attention has been made to the delicate and intricate folds of his jabot, while the base has a rich assortment of flowing material culminating in a very finely carved backwards scroll, with acanthus leaves - a true tour de force of the ship carvers skill. During the conservation work on George Forster the original colour scheme was researched and sensitively re-applied; it's not uncommon for a figurehead of this age to have numerous layers of inapt over-painting by the ship's crew and amateur artists, masking the true detail and appearance. In this instance, an important clue as to identity was found on the front of the figure, painted in gold leaf, in a style of typeface commonly used during the second quarter of the nineteenth century, in larger letters is "GEORGE FORSTER WRECKED ON GOODWIN SANDS" with a date of March 30th 1830. Subsequent research has shown this date to be incorrect and the true date of the wreck, while still on the Goodwin Sands, was in fact 1856 - an error put down to the sign writer. What is not disputed are the facts of the wrecking from the journal of the RNLI and The Times; or the exceptional quality of this carving with a strong provenance rarely seen today in today's market. Richard Hunter Figurehead Historian

A FINELY CARVED EARLY 19TH-CENTURY 'BUGBEAR' COCONUT FLASK, carved in the round with hunting and musical motifs, the mouth typically carved with a bearded mouth and garland underneath, -- 5in. (12.5cm.) high; together with a coconut cup engraved in the round with botanical motifs (2)

A quantity of Port Meirion 'Botanical Garden' pattern table ware,

Two Framed Prints Botanical Subjects

RUTH GREER Lost Messenger, limited edition print, signed and numbered 2/20, 62cm x 80cm; and a selection of four prints including Caligula's Palace, Amalfi, a Victorian bride and her mother, and a black and white botanical print, sizes vary (4)

A Collection of items to include Portmeirion Zodiac baslt mugs and Botanical plates, teapot etc (29)

A C19th porcelain dessert service, the green border with hand painted botanical centre, with anchor impressed mark to base

A Large collection of modern pictures and prints, botanical studies , etc. (14 )

A Set of botanical prints , gilt frames, a set of four 19th century coloured engravings , England, Ireland , Scotland and Wales, etc.

Seven Royal Worcester The Worcester Rose and Botanical Studies Collection rectangular porcelain plaques, printed marks

A Portmerion Botanical pattern cylindrical storage jar and cover for Sugar, others similar (7)

Dorothea Buxton-Hyde, two signed limited edition studio prints, Tiger and cubs, and Badgers, the larger measuring 37 x 55cm, together with a limited edition print of Salisbury Cathedral and two botanical prints

Emile Galle (1846-1904), Passion Flower vase, a large and important Art Nouveau exhibition art glass vase, 1900, of ovoid, pedestal form, acid etched and engraved with a naturalistic passion flower on sinuous stem, highlighted with gilt and a verse by Marceline Desbordes Valmore 'O vie, o fleur d'orage, O menace, O mystere, O songe aveugle et beau', mottled and cloudy purple, blue and green glass draining to a red amber base, incised to the socle Galle, Expo 1900, 51cm high Note: created for the Exposition Universelle de Paris, 1900, as a one off example of Galle's glass making expertise and innovative design, the vase would have been displayed with other similar examples. It uses a pate de verre type technique to create the mixture of contrasting colours. Other vases displayed at the same exhibition are in the collections of the Victorian and Albert Museum and the Musee d'Orsay. Galle's botanical training and interest in horticulture is evident in the design of this piece, created at a time when his enthusiasm for vegetables and gourds was emerging in new naturalistic pieces. The 1900 exhibition vases normally represented accurate and unusual species, in the same year which Galle attended the International Botanical Conference in Paris, presenting a paper on orchid varieties. The poem etched around the lower section of the vase talks about the passion and turbulence of life, symbolic of Galle's own sentiments in his writings: "we know well that the eloquence of a flower, thanks to the mysteries of its organism and its destiny, thanks to the synthesis of the plant symbol evoked by the artist's pencil, exceeds sometimes the intense suggestive power of the human face". The significance of symbolism in Galle's work, and his combination of the natural aesthetics of flowers and poetry, was explained in an essay he gave in 1900. Titled 'Le Decor Symbolique,' it was delivered to the Academie de Stanislas at precisely the time when this vase would have been conceived. As well as Desbordes Valmore, whose verses appear on another Galle vase (Garner, p.96), Galle was inspired by poets such as Victor Hugo, Beaudelaire and Rimbaud, amongst others. See: Garner, P. 1979, Emile Galle, London, pp. 44 and 92, and p.96 for an illustrated example of another Valmore vase. Provenance: Exposition Universelle de Paris, 1900 By descent to the current owner

Large Quantity of Unframed Items to include Oils, Watercolours, Ethnic, Oriental and Botanical Studies

Oriental School, Set of Signed Botanical Watercolours

Two large albums of botanical watercolours, all annotated

Assorted Portmeirion The Botanical Garden pattern dinnerwares, and matching items (2 boxes) Condition report Report by GH Total number of items in the lot is 37, including ten bowls, one with a rim chip, peperettes, the salt missing a stopper, four plates, one heavily crazed, six bowls, all with crazing, two dishes and covers, and other items as shown in the photograph. Generally in good condition but has been used and therefore there is the occasional fault.

KPM Collection of Hand Painted Porcelain Plates (6) in total. With botanical scenes to centre panel and gilded edging. 8.5 inches wide and 19thC.

A modern set of eight botanical prints

Daphne Ellen Hadfield, pair of pen and ink drawings, botanical studies, signed with exhibition labels verso, i 8.5" x 7", framed.

Pictures and Prints - English School, a pair, Botanical Studies; five George Cunningham prints

Two ornithological studies of birds, watercolours, laid on card for reproducing for book illustrators, Douglas Woodall, three botanical studies of plants, watercolour on card, and two further illustrations, one titled Flight from Nuaija

Green, Thomas - The Universal Herbal, or Botanical, Medical and Agricultural Dictionary, 2 vols, quarto, half calf, with hand coloured plates, spines and marbled boards scuffed and torn, plates foxed, London 1823

Three stoneware flagons, one marked T.H. Hewitt, Botanical Brewer, Skewen, 1912. (3).

A collection of late C19th/early C20th Botanical and other prints and etchings, largest 17'' x 13''

Presentation Packs: Collection in nine albums and loose, issues from 1964 Shakespeare to 2012 incl 1964 Geographical, Botanical and Forth Road Bridge (usual crinkly cellophane), the later decimal commemoratives with miniature sheets, se-tenant blocks and strips, definitives with values to £10 (2), Regionals and Country issues, Post and Go types etc, also a few odd Collectors and souvenir packs, a useful and very comprehensive lot, generally very fine (Many Hundreds)

19th Century English plate painted with botanical specimens, a Newhall type tea bowl and saucer, blue and white transfer printed saucer, two Imari pattern cups, an Ironstone jug and a Spode blue and white Italian pattern square fruit bowl

19th Century English pottery, eighteen piece dessert service painted with botanical specimens