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

19th century scrap book containing one hundred and two pages of topographical scenes from North Devon, Isle of Wight, Kent and foreign interest together with other pages depicting people and botanical interest together with another smaller scrap book of twenty-one pages (2)

Miss A. Bathe, three late Victorian watercolours - botanical studies, inscribed, one dated 1900, in glazed gilt frames, 32cm x 23cm

AN ENGLISH TRANSFER PRINTED BOTANICAL BOWL, colourfully decorated with titled specimens, repeated to the exterior, 29cm diameter

A pair of framed Chinese botanical woodcuts together with a Japanese bird woodblock and a gilt framed botanical print (4)

19th century and later porcelain and pottery cabinet plates to include a Minton Botanical plate etc (6)

EDITH ALICE ANDREWS "Study of a garden with flower beds and pathway and hills rising beyond", watercolour, unsigned, bears pen inscription verso, together with a box of assorted pictures and prints to include I F "Shiplake", a pair of watercolours, five loose maps, botanical studies, two framed maps, etc (23)

Parkinson (John) - Theatrum Botanicum: the Theater of Plants, 1 vol. in 2, many woodcut botanical illustrations, lacks engraved additional title, 5A1, 5X2-5, 5Z6, and 7I5 & 6, title and next 2 ff margins frayed & restored, tears or fraying to 2D2-4, 5A6, 5Z3, 6A3-4, with some loss, last 7 ff. margins torn and restored with some loss, other minor tears and repairs, mostly marginal, ownership entries on title of Robert Smith, and on 4M4v of Robert Smith and Edw. Manners, initials (or Roman date) in margin of 4Y6, stained and browned, twentieth-century green half morocco, spines faded, little scuffed, [Henrey 286; Hunt 235; Nissen BBI 1490; Pritzel 7749; STC 19302], folio, Tho. Cotes, 1640.

After Augustus John Nude lithograph 30cm x 44cm; An oval botanical watercolour, a print by Sydney E Wilson (3)

Packet containing 18 hand col'd botanical plts after Loudon with some letter press

JOSEPH TAYLOR: ARBORES MIRABILES OR A DESCRIPTION OF THE MOST REMARKABLE TREES PLANTS AND SHRUBS IN ALL PARTS OF THE WORLD ..., L, 1812, engrd frontis + five engrd plts compl, pp1/2 with crude stitched repair, roan bkd bds worn + JOHN ABERCROMBIE: THE PROPAGATION AND BOTANICAL ARRANGEMENTS OF PLANTS AND TREES USEFUL AND ORNAMENTAL PROPER FOR CULTIVATION IN EVERY DEPARTMENT OF GARDENING ..., L, 1784, vol 1 only, engrd port frontis, old bds worn + E P STEBBING: THE FORESTRY QUESTION IN GREAT BRITAIN, 1928 1st edn, orig cl gt, d/w + G SHAW LEFEVRE: ENGLISH COMMONS AND FORESTS ..., Cassell 1894, orig cl gt worn + E BLATTER AND WALTER S MILLARD: SOME BEAUTIFUL INDIAN TREES, L, 1937, 31 col'd plts compl, orig cl gt + R N PARKER: COMMON INDIAN TREES AND HOW TO KNOW THEM, ill Ganga Singh, Delhi 1940, 40 engrd plts, old full cf gt (6)

GRAND TOUR DIARY: a lively and detailed manuscript account of a European tour from September 4th 1815, returning to Clapham on 21st February 1816: the tour takes in Belgium, Germany, Austria, Italy and France, much detail noted of art and architecture along the way, a detailed record of mileage and expenses at end, some 164pp in a closewritten and legible hand, a few botanical inserts tipped-in, contained in small 8vo commonplace book of period, sheep covered boards worn and rubbed with hinges split, contents generally sound. (1)

Chinese School 19th century set of 4 watercolours on paper, detailed botanical studies with insects and butterflies, unsigned, 13.5" x 11", framed.

19/20th century oil on canvas, botanical flower study, signed with monogram, 12" x 9", unframed.

Coppia di cornici in argento dorato finemente sbalzato e cesellato, argentiere Antonino Perricone, Palermo XVIII secolo, motivi a festoni vegetali sorretti da fiocco e impreziosite da castoni contenenti radici di smeraldo e di rubino. cm 17,5x15,5, gr, 340 circa, Le preziose cornici rettangolari, realizzate con estrema abilità tecnica e perizia artistica, presentano una ricca decorazione floreale originata da uno stilizzato fiocco nastriforme, che risente ancora della circolazione dei disegni di Gilles Légaré pubblicati nel 1663, fonte d'ispirazione per tanti orafi coevi e successivi (cfr. J. Anderson Black, Storia dei gioielli, Novara 1986, p. 193; M.C. Di Natale, Gioielli di Sicilia. Gemme e ori. Smalti e argenti, coralli e perle, uno scrigno preziosissimo ricolmo di monili, Palermo 2008, p. 223). La creatività dell'abile argentiere mette insieme svariate tipologie floreali (rose, tulipani, anemoni etc.) arricchite da castoni quadrangolari centrali ornati da smeraldi e rubini, unificate nel registro inferiore da un grosso motivo fogliaceo conchiliforme. L'eterogeneità degli ornati floreali è attinta dal vasto repertorio dei rami fioriti gemmati che ornavano il capo delle nobildonne spagnole e siciliane, tra cui si ricorda il magnifico esemplare in oro, argento, smalti, gemme e perle del Museo regionale "A. Pepoli" di Trapani, realizzato ante 1698 e quello di orafo siciliano della seconda metà del XVIII secolo in oro e gemme variopinte (rubini, smeraldi e diamanti), che sostituiscono totalmente gli smalti, del Tesoro di Santa Lucia di Siracusa (cfr. M.C. Di Natale, Gioielli di Sicilia..., 2008, pp. 187, 189, 232, 236). Tali fiori non mancano nemmeno negli splendidi paliotti in marmi mischi così caratteristici dell'Isola e nei tanti vasi con frasche che adornavano gli altari siciliani, dovuti alle maestranze isolane, di cui un tardo esempio sono gli esemplari custoditi nel tesoro della Cappella Palatina di Palermo, che con la loro ricca varietà ben rappresentano le caratteristiche naturalistiche dell'Isola (M.C. Di Natale, Le suppellettili liturgiche d'argento del tesoro della Cappella Palatina di Palermo, Palermo 1998, p. 67). L'ornato floreale rievoca un forte linguaggio simbolico, riferito forse alle raffigurazioni sacre, verosimilmente mariane, che dovevano inglobare le cornici in esame. La rosa, ad esempio, da fiore dedicato a Venere diventa simbolo di Maria, mentre "il tulipano — scrive Maria Concetta Di Natale — poiché si riteneva che appassisse in assenza dei raggi solari, diviene simbolo della grazia santificante dello Spirito Santo e simbolizzando l'amore divino finì per divenire l'attributo di Maria". Anche l'anemone è carico di significato simbolico, infatti, "ricevendo il sangue di Cristo ai piedi della croce, ne diviene pure il simbolo, mentre la foglia trilobata di questo fiore viene comunemente riferita dai Padri della chiesa alla Trinità" (cfr. M.C. Di Natale, Le vie dell'oro dalla dispersione alla collezione e I gioielli della Madonna di Trapani, in Ori e argenti di Sicilia dal Quattrocento al Settecento, Milano 1989, p. 36, 70, 75-76; si veda anche M. Levi D'Ancona, The garden of the Renaissance botanical symbolism in Italian painting, Firenze 1977). I serti floreali delle opere della collezione Maranghi possono essere accostati ulteriormente alle imponenti "frasche", quasi dalla forma arborea, caratterizzate da eterogenee tipologie di fiori accompagnate da vari motivi fogliacei del Museo d'Arte sacra della basilica di Maria Assunta di Alcamo (M.L. Celona, scheda IV.45, in Museo d'Arte Sacra Basilica Santa Maria Assunta, a cura di M. Vitella, Trapani 2011, p. 172). Le raffinate cornici di Rimini rievocano anche i ricchi intagli lignei dorati applicati lateralmente alla cornice della fine del XVIII secolo che ingloba il più antico e pregevole dipinto dell'inizio del XVII secolo di Pietro D'Asaro raffigurante l'Adorazione dei Magi dell'oratorio del SS. Rosario in S. Cita (cfr. M. Giarrizzo — A.Rotolo. Il mobile siciliano. Dal Barocco al Liberty, Palermo 2004, p. 71. Per il dipinto si veda M.C. Di Natale, Il Museo Diocesano di Palermo, Palermo 2006, pp. 91, 100). I manufatti in esame, in ottimo stato di conservazione, pur non recando il marchio di garanzia, sono da riferire ad argentiere siciliano per i molteplici raffronti possibili. La presenza del punzone AP visibile ad un attento esame nel verso ci permette ulteriormente di ipotizzarne l’esecuzione a Palermo nella bottega di Antonino Perricone, argentiere attivo nel capoluogo isolano tra il 1740 e il 1796 (cfr. Indice degli orafi e argentieri di Palermo, a cura di.…l. Batolino, in Ori e argenti..., 1989, p. 403; G. Mendola, Orafi e argentieri a Palermo tra il 1740 e il 1790, in Argenti e cultura rococò nella Sicilia centro occidentale I 735-1 789, catalogo della mostra, Palermo 2008, pp. 608. 622), che sigla le sue opere proprio con la iniziali AP (S. Barraja, I marchi di bottega degli argentieri palermitani, in Storia critica e tutela dell’arte nel Novecento. Un’esperienza siciliana a confronto con il dibattito nazionale, Atti del Convegno di Studi in onore di Maria Accascina (Palermo-Erice - 14 - 17 giugno 2006), a cura di M.C. Di Natale, Palermo 2006, p. 522; Idem, in L. Sarullo, Dizionario degli artisti siciliani, vol. IV, Arti Applicate, a cura di M.C. Di Natale, in corso di stampa, ad vocem). Rosalia Margiotta

CHINESE PORCELAIN SINGLE MARRIAGE LANTERN ON STAND overall painted with scroll work and flower heads on a yellow ground, and with reticulated panels having reserve medallions painted with botanical studies. Separate pedestal base. 30cm high. * CONDITION REPORT: Restored/repaired cracks to base of shade, other frits and wear.

A set of three botanical prints.

Thornton, John Robert. The Philosophy of Botany Being Botanical and Philosophical Extracts. Also containing illustrations of the sexual system of Linnaeus, N.D. (c. 1799-1806), engraved frontis of Bust of Linnaeus, engraved title dedications and contents, illustrated with Numerous copper engraved plates. Contemporary calf, split spine, elephant folio. Note: The work was originally published in parts, the first in 1799 and later expanded to include Thornton's most famous work, Temple of Flora.

* MARY GRIERSON (BRITISH 1912 - 2012), HELLEBORUS NIGER (The Christmas Rose) watercolour on paper, signed and dated '91 23cm x 13cm Mounted, framed and under glass. Note: Mary Grierson was one of the world’s most accomplished botanical artists, noted for her meticulous accuracy and sureness of composition.

An amber pendant with botanical inclusions on silver chain, a similar coral pendant on chain along with four other pieces of gents silver jewellery, 103 grams.

AN EARLY 19TH CENTURY POTTERY BOTANICAL PLATE painted with Siberian Iris, titled and a Pearl ware coffee pot and cover, both with faults.

A cider Jar - Saxons Brynmawr and Nantyglo botanical brewery, Chapel Street, 1820

A Derby sauceboat with herringbone moulded grounds and scroll cartouches, painted in underglaze blue with cell borders, birds in flight and botanical studies c1765, 20cm. Condition Report. To be used as a guide only. Small filled rim chip to the tip of the spout. Otherwise good.

A pair of late 19th Century Royal Worcester cabinet plates each decorated with botanical studies of orchids (one titled to the reverse Cattleya Loddigsii) to a blush ground, both with puce marks and date codes for 1899, diameter 22.5cm S/D (2)

Oriental School Four Signed Botanical Watercolours

AFTER W. LIEPOLDT, BOTANICAL PRINTS, PAIR, 25 1/2" X 19 1/2": Under glass and matted in contemporary wood frames, measuring 38 1/2" x 32" overall.

AFTER W. LIEPOLDT, BOTANICAL PRINTS, TWO, 25" X 20": Under glass and matted in contemporary wood frames, measuring 38 1/2" x 32" overall.

A Samuel Alcock porcelain part dessert service, early 19th century, painted with named botanical flowers within an apple green and yellow foliate scroll border, no 3/3327, comprising pair of single handled tazze and six plates. (8)

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