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An English Staffordshire porcelain part dessert service, early 19th Century, each piece painted with a botanical study, comprising sauce tureen, cover and stand, oval fruit bowl, pair of oval dishes, pair of square dishes and a pair of plates, painted pattern number `948` to bases of some (faults).

A large collection of stereoscope slides of botanical and natural history / ornothological interest from "The Nature Stereoscope Club" c1920s

Unknown Artist `Still Life Rosehips` Oil on board, unsigned, 17 x 32cm, including three botanical prints (4)

An early 19thC Botanical Volume, describing different flowers and seeds.

Seven botanical prints, including a set of three by J Gould and H C Richter

[PRINTS] q. of engravings, chromos, etc., NATURAL HISTORY & BOTANICAL, 18th – early 20th c., approx 200. (Q).

Robinsons Family Herbal 1869 including Botanical Farm Family Physician, Culpepers British Herbal both with coloured plates

Large collection of various assorted botanical prints and book plates including still life fruit, plants etc

A 20th Century stoneware storage jar inscribed "The Lancashire Botanical Brewery Co. Limited", dated 1938, a further jar inscribed "Geo. Peters & Co. Ltd, Wine and Spirit Merchants, Kings Road, Portsmouth", three further un-named storage jars, two cylindrical jars and a box of assorted stoneware pots, one inscribed "J B Bowler & Sons Limited, Bath" CONDITION REPORTS Large jars have general wear and scuffs, some small frits, and some blemishes and firing faults, but otherwise appear sound. Box of small items - with wear, and some with chips and losses.

A set of three Redouté botanical prints, and another similar (4) CONDITION REPORTS All with general wear and scuffs. The picture inscribed "A Paris Chez Vilquin" has quite a lot of water staining to the mount. Pictures themselves appear in reasonable condition, with just light wear and dirt, plus a small stain to the Tulip picture. Frames all with some separating at joins and knocks and chips.

Eight modern metallic enamel botanical rectangular plaques

AN OVAL ENGLISH PORCELAIN BOTANICAL PLATE, probably Derby, circa 1800, inscribed to the reverse `Sweet Scabious`, the painted reserve panel within a gilt scroll cartouche, 29cm

20th century school Ornithological studies Seven polychrome prints 22cm x 14cm; together with four botanical prints (11)

Henrey, B. British Botanical & Horticultural Literature before 1800, 3 volumes, black cloth, slip case and two other volumes including Moreton The Aricula. 5 volumes. Condition Report: see terms and conditions

An extremely unusual Victorian botanical album `Seaweeds, Jersey` an exceptionally rare, probably unique Victorian curiosity, in the form of a concertina folded album with charming green paper label to the cover hand printed in gold with the title `Seaweeds, Jersey`, the back cover with a similar typeset label with the verse, `Algae Bright Order, By Cryptogamists Defended - Translate Marine Plants, As Linnaeus Intended, You Collect and Admire Us, We Amuse Leisure Hours, Then Call Us Not Weeds, We Are Oceans Gay Flowers, Curtis`, opening and unfolding to reveal a chart of fourteen pressed seaweeds, each mounted on a separate card slip with the hand written latin name beneath, the reverse side with hand written name and address of the album`s owner, `Mrs. Fothergill, La Chaire, Rozel, Jersey`, the album 5 3/8 x 6in. (13.6 x 15.3cm.), the unfolded chart 29½ x 21¾in. (75 x 55cm.). * Mrs Fothergill and La Chaire are mentioned in the `Tourist`s Guide to The Channel Islands` by Benjamin Clarke, published by Stanfords of London, c.1870. See Illustration.

Miss A.Bathe a pair of 19th Century botanical watercolour studies Anchusa Italica Calvia July 1894 and Lathyrus Latifolius July 1894 For further reference see label on verso

Miss A.Bathe pair of 19th Century Botanical watercolours Geranium Lucidium- June 1894 and Epipactia Palustrum - June 1894

A pair of botanical studies, Polyanthus and Scarlet Geranium

19th Century School - study of a character outside a chateau, mezzotint print, 7.5" x 9.5", within an eglomised frame; together with nine botanical prints and three further prints (12)

Six botanical studies within gilded frames

Chinese Zitan Eight Panel Screen Zitan wood eight panel screen, China, the middle section of each panel carved with a different bird and botanical motif and with inscribed characters on the reverse, bordered by carved panels of archaic scroll patterns and small dragons, each panel 79" h x 16 1/2". This condition report is not complete. Please contact heagles@kaminskiauctions.com for a complete condition report on this lot. Starting Price: $1500

An assortment of framed and glazed botanical prints etc.

A LARGE COLLECTION OF UNFRAMED PRINTS, engravings etc., to include Baxter Kronheim prints, botanical, historical, architectural, etc., mainly nineteenth and twentieth century

A set of four gilt framed and glazed botanical studies, 16.5cm x 11cm, together with a Victorian rosewood picture frame, 17cm x 14.5cm (internally).

•MARJORIE PROCTER (1918-2012) Two folios of watercolours principally landscapes and botanical subjects, some signed and dated, locations include Montgomery, Canterbury, Kensington 1945, unframed, varying sizes, 21 1/2 x 15in (54.6 x 38.2cm) and smaller, approximately sixty, sold A/F (60) Marjorie Procter (1918-2012) Studied at Liverpool City School of Art 1935-40, and continued to teach at the school during World War II. Later she joined the Ealing School of Art. She originally exhibited in London and elsewhere under her maiden name Marjorie Palmer, before she married Kenneth Procter in 1964.She specialised in landscapes and botanical subjects. She lived in Ealing with her husband when they both taught at Ealing School of Art. Later they retired to Woonton, Herefordshire in 1975.

•ALISON M. DICKENS (fl. mid 20th century ) Marjorie Procter painting by the Sea signed with monogram `AMD` (lower right) oil on canvas 24 1/2 x 24in (62.3 x 60.9cm) Sold with a further oil by Alison M Dickens depicting `Kenneth and Marjorie Procter, 1973` and a selection of twelve watercolours by Marjorie Procter including a number of coastal and botanical subjects. fourteen (14)

Seven various engravings and botanical prints, after Morland

A SET OF THREE FLORENTINE GILT GESSO MINIATURE FRAMES, 19th century, of circular form, carved and pierced with scrolling acanthus leaves, 7 1/4" diameter, framing a set of three watercolour botanical studies by Barbara N Shaw, c.1979, 3 1/2" diameter, together with a similar rococo style frame, 7 1/2" wide (4)

SPENCER USA EARLY 20th CENTURY MONOCULAR MICROSCOPE BRASS AND TEXTURED BLACK ENAMEL having course and fine rack and pinion focussing, the tube numbered 61939 in mahogany fitted case with accessories TOGETHER WITH THREE BOOK FORM SLIDE BOXES each spine tooled in gilt Microscopical Preparations each fitted to hold 50 individual slides, now containing APPROXIMATELY 138 SLIDES OF INSECT OR BOTANICAL SPECIMENS, many individually titled, others possibly as per hand written indexes

A collection of unframed watercolours of botanical subjects including honeysuckle, forsythia, etc, with dates and some with monogram AR, various Far Eastern and Indonesian type coloured and monochrome prints on tissue paper of figure subjects, etc, a pair of small early 20th century gouache studies of moorland scenes, a small collection of ephemera including cigarette card album and contents relating to the Silver Jubilee 1935, Mary Mouse to the Rescue by Enid Blyton, etc

Three unsigned botanical studies, watercolours.

Wedgwood urn and cover coalport sweetdish, botanical hand painted plate, copeland bread dish etc Condition report: see terms and conditions

A 19th century dessert service, each piece handpainted with botanical studies, with green band and gilt border, the three comports raised on dolphin supports with triform base beneath and with eight accompanying plates, each diameter 9 ins (see illustration).

A COALPORT MOULDED BOTANICAL PLATEpainted with a passion flower, the border with single flowers and fruit in gilt dentil rim, 22cm diam, title in red script, c1815 and a Charles Bourne moulded dessert plate, boldly painted with three flower sprays in lobed gilt rim, rare painted mark Charles Bourne F...by Potteries Staffordshire in red script, c1817-25 (2)Coalport plate in fine condition, Charles Bourne plate also fine with slight localised stacking wear

A RARE FREDERICK PEOVER BOTANICAL DESSERT DISH AND PAIR OF PLATESpainted with a poppy, rose or tulip, plate 22cm diam, one plate impressed PEOVER, painted No 20 and tally mark in puce, c1818-22Provenance: (the dish) J H Yates Collection.Illustrated: (the dish) Godden (Geoffrey), Staffordshire Porcelain, 1983, fig 625.Products of the factory of Frederick Peover and his Wife, of High Street, Hanley are rare as it seems to have been in existence for a period of only four years.All in fine condition and interesting

CYNTHIA (HYACINTH) ABBOTT (B 1908)THE COMPLETE BOTANICAL ILLUSTRATIONS FOR JOHN HUTCHINSON`S BOUQUET OF WILD FLOWERSincluding the frontispiece, several signed or signed with initials, watercolour, 25 x 18cm & c (one larger) sold in portfolio with a copy of the book, published by Bruce & Gawthrone Ltd (66)In fine condition

A large collection of Portmerion Botanical garden wares, tea pot, vase, dishes, oil and vinegar, cups and saucers, butter dish, salt and pepper.

Three Spode earthenware plates with botanical designs including Jacobin lotus and Spring crocus c1770

A Spode Copeland botanical coffee can c1891

A finely painted Copeland & Garrett Felspar porcelain botanical cup & saucer together with a very similar Spode cup & Copeland & Garrett saucer all designs from the Lubbock service

A Spode Felspar porcelain plate with hand painted fruit and a pineapple to the centre, c1800; together with a Spode botanical plate 'Spiderwort' c1784 and a floral plate with relief moulded border c1784

A small collection of botanical blue & white, a Copeland & Garrett plate, Spode ribbon plate, dinner plate and soup dish

A Copeland & Garrett / late Spode blue & white hot water plate together with a Copeland & Garrett blue & white botanical bowl and a Copeland & Garrett /late Spode small platter

Sir John Hill, Family Herbal. Published Brightly, Bungay, 1812. Illustrated with 54 hand coloured botanical plates, fine modern binding of green calf over marbled boards

A folding brass and ivory hand held botanical microscope, early 19th century, within a small cap end cardboard box, the interior with marbled paper lining, box impressed with a nautilus shell, microscope 5cm closed, and a gilded brass botanical microscope, 19th century, with helix drawer, 6.2cm closed

Harry Edward Busby, British 1919-1984- Untitled abstract composition; oil on paper, 27.5x35cm: together with a quantity of drawings in pencil, pastel, pen and ink, watercolour, and gouache by the same hand, many botanical subjects, various sizes, (a lot) (in one folio) (may be subject to Droit de Suite)

SHISHKIN, IVAN(1832-1898)Twilight, signed and dated 1896.Oil on canvas, 162 by 121 cm.Provenance: Private collection, Finland. Anonymous sale; Kansainvälinen Keväthuutokauppa, Bukowskis Helsinki, 12 December 2006, lot 250. Acquired from the above by the present owner. Private collection, Europe. Authenticity certificate from the expert V. Petrov. Exhibited: The 24th Exhibition of the Society for Itinerant Art Exhibitions, various cities, 1896–1897, No. 140. The All-Russia Industrial and Art Exhibition, Nizhny Novgorod, 1896, No. 391. Literature: Exhibition catalogue, The 24th Exhibition of the Society for Itinerant Art Exhibitions, St Petersburg, N. Sobko, 1896, p. 5, No. 140, listed and illustrated in black and white. Exhibition catalogue, The All-Russia Industrial and Art Exhibition, St Petersburg, 1896, N. Sobko, p. 14, No. 391, listed; p. 63, illustrated in black and white. N. Pikulev, I.I. Shishkin, Moscow, Iskusstvo, 1955, p. 224, listed. G. Romanov, Tovarishchestvo peredvizhnykh khudozhestvennykh vystavok. 1871–1923. Entsiklopediya, St Petersburg, Orkestr, 2003, p. 183, No. 2–188, listed and illustrated in black and whiteIvan Shishkin’s picture Twilight is considered one of the best of his late works. It is well known from the text and illustration in the catalogue for the 1896 All-Russia Exhibition in Nizhny Novgorod, where it was marked as sold. Few have had the fortune to see it first hand, however, because from the time of its sale until 2006 the picture remained in the confines of a private collection in Finland. Shishkin painted Twilight in Siverskaya – a little village near Gatchina where many Russian artists and writers would spend the summer months at the turn of the 19th and 20th centuries. This area of dachas, picturesque, hilly, and with magnificent pinewoods, often served as inspiration for Shishkin, Kramskoy, Repin and Brodsky. “Here one can breathe easily and nature is wonderful,” Shishkin wrote of Siverskaya. Thus in 1896, leaving his post as director of the landscape studio at the Higher School of Art attached to the Academy of Arts, the master painter decided to set off “to the dacha” and paint from nature. Shishkin’s sojourns at Siverskaya were always extraordinarily fruitful. It was here that his best known canvasses were painted – Rye (1878) and Morning in the Pine Forest (1889); here he devised new compositions and made numerous studies: Ferns in the Forest, Dacha at Siverskaya, Wood on a Riverbank, A Swamp by the Warsaw Railway. The present lot, Twilight, undoubtedly holds its own among these seminal compositions painted in and around Gatchina. The lyrical and epic composition is characteristic of Shishkin’s work of the 1890s. Of a rather large scale and thoughtful execution, it produces an impression of monumentality, solemn magnificence and calm. The tall mast-pines soar skyward, in the foreground extending beyond the confines of the painting, then opening out in a wide glade that melts away in the limpid depths of the wood. A summer storm has just passed and the woodland track rutted by cartwheels has turned into an enormous puddle sparkling in the last rays of the setting sun and reflecting the reddish colour of the pine trunks. The majestic woods, the eternally swamped Russian roads, the stumps, the felled trees and new shoots rising in the same spot, the sparse needles of the tall northern trees through which the warm air streams, everything bathed in the golden light of sunset, and the cold lilac twilight is already forming in the distance, where gently painted tree trunks huddle – this scheme of contrasting elements is welded into a single integrated image of nature to generate great poetic expressiveness. A lyrical, intimate note sounds more strongly in Twilight than in many other of the artist’s paintings; he achieves a striking virtuosity in conveying forms without resorting to minute detail or unnecessarily pettifogging botanical descriptiveness. In the last decades of the 19th century Shishkin turned to the subject of the pine wood particularly regularly. He grew up in Yelabuga among the pine-covered expanses of the Afonasov mast grove and knew and loved pine woods like no other artist. Contemporaries called Shishkin the “Bogatyr of the Woods”, the “Forest Tsar” and, according to the artist and collector Ilya Ostroukhov, even to look at he was a “sturdy pine”. Under his hand, the pine wood, this master’s legacy to Russian painting, became transformed into something original and genuinely poetic. Pine Forest, Track in the Forest, Sun-Lit Pines, Morning in the Pine Forest, The Forest of Countess Mordvinova – in these works Shishkin not only conveys the beauty of stately trees soaring aloft, but also addresses contemporary problems of painting en plein air and allies himself with the principles of creating atmospheric landscape. In response to innovative trends in Russian figurative art that started in the 1880s and in seeking to express the more complex and ephemeral natural conditions that resonate with man’s spiritual state, Shishkin paid ever more attention to light and recreating atmospheric effects on canvas. In his best paintings there is movement of light, and the impression of air enshrouding the trees; there is a clarity and transparency to the vibrant shadows and undertones. Shishkin’s technique becomes richer and more varied, his palette more beautiful and the relationships between colours more subtle. As before however, the underlying principle of his work remains disciplined draughtsmanship and definition of form, precision in the colouring of every detail, and marvellous brushwork. In addition, his later work is characterised by a diversity of texture. His creative method – painting thick over thin – is manifest in the magnificent calm of Twilight, where the impasto in the foreground is combined with the soft, almost transparent, rendering of the background and sky. The artist’s desire to combine monumentality with elegiac reverie and to express a spiritual connection with nature is manifest. Twilight reflects Shishkin’s particular interest in rendering atmospheric phenomena – sunset, sunrise, sheets of drizzle and misty damp air, woods wet from rainstorms. A female acquaintance of the artist recalled how running past his dacha in a downpour, she was taken aback to see him standing barefoot and soaked through in a puddle. “Ivan Ivanovich!” she cried, “Did you get caught in the rain too?” “No, I came out to be in the rain!” the artist replied excitedly, “The storm caught me indoors. I saw this marvel from my window and hopped out to take a look. What an exceptional picture! This rain, this sun, these flourishes of dripping water... the dark forest. I want my memory to register the light, the colour and the lines ...” Shishkin longed to capture such moments. Every day he would arrive at his preferred spot and catch every variation in the air, light and elements of the natural world. He would then labour over the picture in his studio to combine the sketch-like immediacy of an impression with the finish of a studio work, which imparts to his canvasses their sense of compositional harmony and completeness

x Great Britain Queen Elizabeth II Issues 1964 Botanical Congress ordinary 3d., variety blue omitted, part of slogan cancellation, fine and extremely rare. S.G. 655a, £21,000 (mint). Photo Vat Status: Import 5% View Terms & Conditions

Herbarium Albums, Europe, 1865-1866. Two albums compiled by Boston-born Eliza Gill Bradlee Winchester (1830-1896), who married Henry Shroeder Taylor (1824-1886) in 1848. One in dark green pebbled leather, a.e.g., the other in full parchment with gold tooling and inlaid leather embellishments; each page contains pressed botanical specimens tacked minutely to the page with thread; a thinner sheet of paper has been pasted over the verso of each leaf, to hide the knots, some specimens are displayed in separate mountings, sometimes several to a page, bouquets and other artful combinations of plants are present throughout, all nicely preserved; the plants were picked while Eliza toured Europe in 1865 and 1866, culminating in the birth of her daughter Louisa Schroeder Taylor on June 9, 1866, in Paris, which Eliza celebrates by spelling out her daughter`s initials in moss, once in each album. Specimens are from England, France, Switzerland, Germany, Denmark, Sweden, Norway, Austria, and Italy; leather album: 11 x 8 in.; parchment album: 13 1/4 x 9 3/4 in.

Hill, John [Botanist] (1716-1775) The British Herbal. London: for Osborne, Shipton, et al., 1756. First edition, folio, untrimmed, with deckle edges throughout, in blue paper boards, leather spine, illustrated with a frontispiece, title and other engraved vignettes, and seventy-five full-paged botanical plates, ex libris Lorande Loss Woodruff (1879-1947) Yale professor of biology, with his blind stamps and rubber stamp on some pages, signature on ffep, and an offprint of a monograph on Hill by Woodruff, with five notes and letters in a pocket inside the back cover of the monograph marked "provenance"; binding rubbed, worn and stained, contents good, 19 1/8 x 12 in.

Kircher, Athanasius (1602-1680) China Monumentis. Amsterdam: Joannes Jansson a Waesberg & Elizeum Weyerstraet, 1667. Folio, engraved title, engraved vignette on typographical title, typographical title torn with 1 1/2 x 2 1/2 in. C-shaped lacuna to the blank margin; full-paged engraved portrait of Kircher in his library; large folding map of China, large folding table of Eastern languages torn and repaired, two full-paged engraved plates of Syriac inscriptions; large folding map of Asia torn with slight reparable loss, tape repairs, on ink spot, detached from book; full-paged plate of the miraculous cross of Saint Thomas in India; eleven text engravings mainly depicting people; full-paged engraving of the Mughal Emperor; three text engravings of animals; full-paged standing portrait of Kam Hi, the second emperor of the Manchu Qing dynasty; two full-paged engravings of typical regional Chinese types, each with six frames; full-paged standing portrait of the Jesuit astronomer Johann Adam Schall von Bell (1592-1666); full-paged standing portrait of Matteo Ricci and Li Paulus Magnus; two full-paged engravings of a Japanese woman with a bird in two different domestic settings; text engraving of an Indian religious rite; full-paged engraving of a Chinese temple; folding engraving of a Chinese painting; text engraving depicting a Japanese religious rite; text engraving of the Buddha on a lotus; full-paged engraving of a seated many-armed Buddha on a lotus with Sanskrit inscription; two repeated text engravings: the Japanese and Indian rites; full-paged anatomical Brahma man engraving; ten text engravings illustrating a Hindu Brahman tale, the first engraving, signed, Mm, pasted over the original imprint, which was mistakenly printed upside down; five full-paged engravings of Sanskrit; three large text engravings depicting a dragon fighting a tiger, seven mountains with reference to Ursa Major, and a carved idol; text engraving of a baby floating on a small raft in the middle of a lake; ten text engravings of botanical subjects; text-size engraving printed on an otherwise blank sheet extraneous to the collation (considered full-paged: Qqq); five text engravings of animals and birds; text engraving of an underground kiln; full-paged engraving of a bridge; text engraving of the great wall, with an elephant; text engraving of two large bells; eight text engravings of Chinese characters; text engraving of a calligrapher; lacking Hh2, the middle leaf of the index, and Hh4 ?blank. Plate count: engraved title; portrait of Kircher; two folding maps; two folding engravings; twenty-one full-paged engravings; and fifty-nine text engravings; bound in later leather, boards dry, rebacked, text leaves 15 x 9 1/2 in. Occasional spotting and tears.

Müller, Samuel (fl. circa 1690) Vade Mecum Botanicum. Frankfurt and Leipzig: Mieth & Zimmermann, 1694. Octavo, title page printed in red and black, engraved frontispiece, illustrated throughout with small botanical woodcuts, text in German, in contemporary boards, fragmentary at the end, lacking index leaves; not collated, binding worn, browning to text throughout, 6 x 3 1/2 in.

Botanical Prints, Two Hand-colored Engravings, [from] William Curtis`s (1746-1799) Flora Londinensis, London, 1777-1798. The first depicting Caltha Palustris, the marsh marigold, and the other Malva Sylvestris, or blue mallow, the two framed separately, each sheet is 19 1/4 x 12 in.

Weinmann, Johann Wilhelm (1683-1741) Ten Hand-colored Botanical Prints. [from] Phytanthoza Iconographia, 1737-1745. The plates are printed in color and finished by hand, subjects include cardamom, coriander, melon cactus, euphorbia, ficoides, bachelor`s buttons, dracunculus, cucumber, cubeba, and Solomon`s seal; various sizes, most are 15 3/4 x 10 in. (10).

OSBERT LANCASTER - a print of gentlemen in black tie on a lawn and an early 19th Century botanical print titled `October`.

A Wedgwood blue and white pottery part dessert service, early 19th century, transfer decorated in a botanical pattern, comprising: a pair of oval dishes, four quatrefoil dishes, a small oval dish and seven plates. (14) Provenance: The Estate of David Powell MBE.

A Copeland and Garrett flow blue and white pottery part dinner service, transfer decorated in a botanical pattern, comprising: two graduated tree and well meat platters, two further platters, five small platters, soup tureen, cover, ladle and stand, a pair of sauce tureens, covers, ladles and stands, meat drainer, three open dishes, five dinner plates, six dessert plates, ten side plates and four knife rests. (50) Provenance: The Estate of David Powell MBE.

Syd Edwards, a coloured botanical engraving, published 1805 by T. Curtis, London, 19 by 11cm together with a collection of 19th century study plates of insects and flowers and a copy of 'Conversations on Botany, third edition', 8vo, published by Longman Hurst et al, London, 1820.

Harrison Weir (1824 -1906): a chromolithograph from the Poultry Book, circa 1902, signed and dated lower centre, October 25th 1852, of a cockerel and two chickens, 24 by 33cm, together with two hand coloured botanical prints by Henry Charles Andrews, 1803, 26 by 20cm. (3)

Four steel etchings, of 'The Banqueting House', four gilt framed portrait prints, 17 by 10cm, and two printed botanical studies, 31 by 21cm. (10)