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A set of five botanical Meissen small cups and saucers; together with a Spode pattern 2283 Imari plate.

Thomas Bewick. Mounsey (E.B.). Bewick and His Works, A Lecture delivered before the Darlington Friends Philosophical Society, 1884, 4to., superb manuscript lecture with engraved frontis, illustrated throughout with numerous Bewick prints, book extracts, photo illustrations, press cuttings, various prospectuses and receipts. Larger prints include a horse on vellum, the Whitley Large Ox, an elephant, a horse 'Waiting for Death' and a folded broadside or hand-bill advertising Howis's Grand Assemblage of Living Birds and Beasts illustrated with a lion and a tiger, printed by Parker of Hereford (cf. Hugo 2263 with Sunderland imprint). Also included is an orange illustration of a lobster by Robert E. Bewick, a manuscript account of a Fothergill interview with Thomas Bewick in 1808 and an interesting Bewick a.l.s. dated 1792 relating to a commission for the illustration of a botanical publication, bound in gilt tooled morocco (scratch to upper board). The lecture was also given to Darlington Students Assoc., Hendon Hill, Sunderland, Leeds, Darlington and Middlesbro' Young Friends Societies. Also included are 59 glass lantern slides used to illustrate the lecture, in original wooden box and 21 loose Bewick prints.

Lady Wheeler Cuffe (Charlotte)-Original Artwork. A collection of watercolours and sketches including approx 40 views of Burma and Korea, (some unfinished, some initialed 'C.I.W.C.and dated 1897-1907), one envelope of other material refers to sketches by Lady Cuffe., some earlier works initialed C.I.W., includes 22 watercolours mounted in defective album (Note; Lady Wheeler Cuffe (nee Williams) 1867-1967 travelled to Burma with her husband, an Imperial official, she was the first botanical artist to reach some of the remote areas of the country). Provenance; Lyrath House, Co. Kilkenny (qty)

Lindley (John). Rosarum Monographia, or A Botanical History of Roses, 1830, second edition, 1 plain and 18 hand-coloured plates, cloth

19th Century English porcelain dessert service, each piece individually decorated with botanical sprays having moulded and gilt borders - 28 pieces

Marjorie Blamey (20th century): Still life botanical and floral studies, watercolours initialled 24cm x 18cm in three frames

Two pairs of botanical prints framed and glazed

A collection of C19th framed and glazed Botanical studies including a pair of twin botanical plates in single mounts and two similar needlework studies

Three Japanese paintings on silk, an oil on board, still life with flowers, a number of botanical studies and other pictures

Graham Sutherland O.M. (1903-1980), Botanical study, initialled, crayon, 11.5 x 11cm.; 4.5 x 4.25in.

18th/19th century hand painted botanical Meissen part service comprising eleven medium size plates and six side plates (17)

A pair of Royal Crown Derby botanical plates pattern no.A302, decorate with lavish gilt trimmings, green borders and central floral bouquets, diameter 23cm

A late Victorian brass lacquered microscope in fitted case, complete with assorted lenses, with bill of sale (French), to/w a 19th century brass botanical microscope and components, with sliding body-tube focusing in associated case/base (2)

A Spode botanical dessert service each piece painted with a specimen plant within a gilt rim, printed marks

A group of assorted prints and etchings, including Town scenes, a Paris view, figurative and botanical subjects, and Kate Greenaway illustrations. (qty)

Early nineteenth century English Pearlware dessert plate with painted botanical scene entitled 'Sarracena' and lot of nineteenth century decorated china

G C Cunningham unframed watercolour - Ayrshire Castle, another by the same hand, Capt Jas. Stoddart RN 1858 watercolour - volcano, nineteenth century botanical studies and other watercolours, together with a collection of topographical prints and engravings

Good quality early nineteenth century watercolour in glazed gilt frame - Botanical study with butterflies 42cm x 34cm

Victorian watercolour botanical study in mahogany frame, view of a cottage in rosewood frame, and two studies of female figures (4)

A late 19th century Minton part tea service, decorated with sways, urns and festoons, comprising of two cake plates, a bowl, seven side plates, eight tea cups and twelve saucers, together with six botanical decorated dessert plates and a Spode armorial plate, (37 items).

ANNA HORNBY. A quantity of unframed, signed verso, watercolours on paper, botanical studies. 6" x 4.1/4" (average). (45)

JOHN GILMOUR AND MAX WALTERS: WILD FLOWERS, 1954, 1st edn, New Naturalist Series No 5, orig cl, d/w + W B TURRILL: BRITISH PLANT LIFE, 1948, 1st edn, New Naturalist Series No 10, orig cl, d/w + C M YONGE: THE SEA SHORE, 1949, 1st edn, New Naturalist Series No 12, orig cl, d/w + WILFRID BLUNT: THE ART OF BOTANICAL ILLUSTRATION, 1950, 1st edn, New Naturalist Series No 14, orig cl, d/w + E N NICHOLSON: BIRDS AND MEN, 1951, 1st edn, New Naturalist Series No 17, orig cl, d/w + H J FLEURE: A NATURAL HISTORY OF MAN IN BRITAIN, 1951, 1st edn, New Naturalist Series No 18, orig cl, d/w + B S SUMMERHAYES: WILD ORCHIDS OF BRITAIN, 1951, 1st edn, New Naturalist Series No 19, orig cl, d/w + COLIN G BUTLER: THE WORLD OF THE HONEYBEE, 1954,1st edn, New Naturalist Series No 29, orig cl, d/w + LESLIE BROWN: BRITISH BIRDS OF PREY, 1978 reprint, New Naturalist Series No 60, orig cl, d/w (9)

GB, 1964-75 collection, pres packs in SG cover album including 1964 Geographical, Botanical, Forth Road Bridge etc

Two Persian finely executed watercolours, titled in Arabic script, White Crested Laughing Thrush and Bobolink, circa 1900, 12 x 17.5cm, together with two Eastern botanical watercolours (4)

A VICTORIAN MINTON DESSERT PLATE the central panel painted with a botanical specimen within a pierced turquoise and gilt border painted with flowers in reserves, gilt "ermine" mark, 91/2"

AN ENGLISH PORCELAIN DESSERT SERVICE consisting of two cake stands, two tazzas and six dessert plates, each with individual botanical decoration within a pale blue border.

E. Jane Bruce - 'Hibiscus' and 'Medlar' (Botanical Studies), two 20th Century watercolours, signed and titled, together with two further Botanical Studies by other hands.

After Philip Miller - 'Dictionary of the most Beautiful Plants - 15', 18th Century engraving with period colour, together with a collection of later lithographs, Botanical Studies.

Mid-19th Century British School - Oval Botanical Study of Carnations, Dog Roses and Bluebells, watercolour, within an oval gilt frame.

A porcelain side plate, circa 1830, painted with flower sprays reserved against a blue ground, overlaid in gilt within a moulded rim, pattern number '2084' in iron red to base, together with another plate painted with a botanical study and a porcelain jug (faults).

NELMES, Ernest & William CUTHBERTSON. Curtis’s Botanical Magazine Dedications 1827-1927 Portraits and Biographical Notes. London: [n.d. but circa 1931.] 8vo (249 x 147mm.) Numerous plates. (Some spotting to outer edges.) Original brown cloth (extremities slightly bumped).

A set of four coloured prints, botanical studies, in strip frames

A 19th century album, with various loose pencil landscape drawings and a watercolour botanical drawing, cover detached

European school 18/19th century- The Greeting; stipple engraving in sepia, a pair, in matching gilt gesso frames, 29x38cm., ea: Francesco Bartolozzi RA 1727-1815- "The Triumph of Beauty and Love", after Giovanni Battista Cipriani RA 1727-1785; stipple engraving: together with a quantity of framed 18/19/20th century engraving, depicting various decorative subjects to include botanical, fashion and portrait, mostly in maple veneered frames (a lot)

* An Early 19th Century Album, containing various engravings, botanical watercolour studies and etchings mainly after old masters, to include examples after JMW Turner 1775-1815, George Cruickshank I 192-1878, David Teniers I 1582-1642 and others, mostly trimmed, stuck down, (album) (a/f)

William Hogarth 1697-1764- Gentlemen entering a carriage at the Old Angel Inn, publ 1747; engraving, 23x31cm: together with other 18/19th century engravings after various hands to include David Roberts RA 1796-1854, "Gateway of Bazaar, Grand Ciro" in a verre eglomise frame and two Chinese rice paper paintings depicting dignitaries and others: British School mid 19th century- Botanical study; watercolour, initialed 'AN' and dated 1835, 18x15cm: Dobbs, late 19th century- A kitten playing with a ball of wool; embossed picture, 8x10cm: together with three late 19th century hand-coloured botanical prints, after Mrs Withers, (11)

European school 18/19th century- Botanical studies; hand-coloured engravings, a pair, text verso, in matching decorative frames, 50x40cm,each, (2)

A green glazed earthenware oval planter with applied floral decoration, 47 cm wide, a similar smaller example, 36 cm wide, a cream glazed earthenware circular planter, with applied Royal Botanical Gardens - Kew motif, 32 cm diameter, a polished marble model of a bull, 20 cm wide, a novelty oval pottery platter with pig mask design, 49 cm wide and two other planters, (8).

Set of four Royal Copenhagen 1790-1990 Flora Danica 200th Jubilee Edition, plates decorated with hand painted botanical reserves with pink and gilt borders in original silk lined wooden case. The plates 22cm diameter - as new

A set of four 19th Century botanical low tazzas, each painted with a botanical specimen within a pale blue and gilt border, possibly Minton, 9” diameter x 2” high (4)

A Royal Worcester botanical coffee set, for six settings, painted and printed with rose, poppy, wall flower, pansy, polyanthus and lily (6)

Unsigned early watercolours on paper, six botanical studies together with two studies of exotic birds (inscribed) (8). 7 1/2" x 5 3/4" (average).

An English porcelain botanical part dessert service, probably Coalport, comprising: an oval dish and four octagonal dishes on gold scroll feet and ten plates, each piece boldly painted with a single bloom or a spray, named on the back in blue script, each border encircled with a band of gold stylized foliage, circa 1810, some damage.

A Minton porcelain part dessert service, comprising: four circular low comports, two oval low comports, two rectangular comports and eighteen plates, each enamelled with a botanical specimen within interlaced gold dot and turquoise jewelled bands, impressed registration lozenge and painted Pattern No. A.646, circa 1850. (26) .

Set of ten Meissen botanical decorated plates with shaped borders, blue cross swords mark, each 10" diameter (some damages)

Paxton (J) Paxton's Botanical Dictionary, new edition 1868, together with further volumes, mainly reference works relating to botany including works by Butcher (Roger W), Tansley (A G) etc

A rare ‘Challenger Medal ‘awarded to Dr. George Busk, a noted scientist and contemporary of Charles Darwin, who successfully nominated the latter for the Royal Society’s coveted Copley Medal Medal for the Expedition of H.M.S. Challenger 1872-76 and the subsequent scientific reports 1886-95, Neptune, left hand holding a triangle and the right arm encircling a trident and resting on a wreath, below which, the helmeted bust of Britannia left, surrounded by dolphins and mermaids, with inscription on ribbon below, ‘Voyage of H.M.S. Challenger, 1872-76’, reverse, armoured medieval knight left with gauntlet at his feet, a ribbon in part entwined around a trident bears the inscription, ‘Report on the Scientific Results of the Challenger Expedition 1886-95’ (George Busk), 75mm., bronze, good very fine £400-500 Medallic References: B.H.M. 3487 and Eimer 1797; a total of 120 such awards were issued, The Challenger Medal Roll (1895), by Glenn M. Stein, F.R.G.S., recording only eight known examples, some of which are still in family hands, while others reside in institutions - Busk's example was issued posthumously on 23 December 1895. George Busk was born in St. Petersburg in August 1807, the second son of Robert Busk, a merchant in that city. After receiving his initial education at Dr. Hartley's School, Bingley, Yorkshire, Busk studied medicine at St. Thomas's Hospital, London. Thereafter, he spent six years as an articled student with George Beaman, under the aegis of the Royal College of Surgeons of England. Appointed to the Seamen's Hospital Society (S.H.S.) in 1831, having served briefly as Apothecary on the Society's first hospital ship, the Grampus, Busk joined the 104-gun ship Dreadnought as an Assistant Surgeon in the following year, aboard which ship he ‘worked out the pathology of cholera, and made important observations on scurvy’: he was to remain a Surgeon with the S.H.S. for nearly 25 years, until retiring from surgical practice in 1855, though he held the post of Consulting Surgeon from 1866 until his death 20 years later. In December 1843, Busk became one of the original 300 Fellows of the Royal College of Surgeons. Besides his eventual Presidency of the same body in 1871, he subsequently occupied many influential positions in several learned scientific institutions, among them the Microscopial Society, Linnean Society, Zoological Society, and the Anthropological Institute, while in 1850 he was elected a Fellow of the Royal Society. The Darwin connection Early in life he had established himself as a leading authority on Polyzoa, and as with all things he studied, was a patient and cautious investigator. The author of several works on varied scientific subjects, and a solid artist, he also wrote and drew about Polyzoa specimens brought back by Charles Darwin on the Beagle, the 1875-76 Arctic Expedition, and of course, Challenger. Indeed Busk was deeply involved in the debate on the theory of evolution and some sources state that he read the joint Darwin-Wallace paper at a meeting of the Linnean Society on 1 July 1858 - the paper was an important prelude to Darwin's On the Origin of Species by Natural Selection (1859) - but more recent research suggests it was the Society’s Secretary who read out the paper. Be that as it may, Busk did translate into English Professor Schaaffhausen's detailed description of a cranium discovered in the Neander Valley in 1857, two years before publication of Darwin's Origin, a translation that duly appeared in The Natural History Review for April 1861. In his related publication, The Neander Valley, Robert Silverberg states: ‘[Busk] addressed a group of English scientists that same month, displaying a plaster cast of the Neanderthal skull and a skull of a chimpanzee. He said he had "no doubt of the enormous antiquity" of the Neanderthal bones, and called attention to the way the shape of the skull approached "that of some of the higher apes." Neither Darwin nor his chief popularizer, Huxley, attended Busk's lecture, but the geologist David Lyell did, and he saw to it that the Neanderthal skull cast got to Huxley. Huxley reported, in 1863, that the skull was that of a primitive variety of man, ‘different from Homo Sapiens but not wholly distinct anatomically’, though he admitted it was the most apelike human skull yet found - Huxley added cautiously that ‘in no sense can the Neanderthal bones be regarded as the remains of a human being intermediate between men and apes’. ‘In addition, in 1863, Busk came forward with a fossilized skull found in Gibraltar in 1848, and since preserved at the Natural History Museum, London. He realized it had Neanderthal characteristics, and on the basis of the two skulls, an assistant of Lyell's christened a new species of man in 1864, Homo neanderthalensis. As a result, along with Darwin's Origin, "Neanderthal man" rapidly became the centrepiece in the contemporary evolution controversy. In fact, Darwin and Busk had a close medical, as well as scientific, relationship. Darwin was plagued nearly all his adult life with stomach problems, and on his way to Malvern Wells in 1863, he stopped in London overnight to consult Busk, whom Hooker had recommended as having ‘the most fertile brain of any man I know in regard of all such matters as your stomach’ (letter from J. D. Hooker, dated 27 August 1863, refers). Moreover, following Darwin’s failure to gain the Royal Society’s coveted Copley Medal in 1862-63, as a result of the contentious nature of his Origin, it was Busk who nominated him again in 1864, this time for his researches in geology, zoology and botanical physiology, and the ploy worked, the membership present at a meeting held that November resolving by ballot that Darwin receive said Medal. Darwin did not attend the meeting at which the award was announced, fearing the excitement would make him seriously ill, and in his absence the Medal was received on his behalf by Busk, who handed it over to Darwin's brother - a few days later the great man wrote to Busk, thanking him for proposing him for the award (Darwin’s letter, dated 4 December 1864, refers). It was around this same time that a social club was formed by eminent scientists and called the ‘X Club ‘, in order to prevent the members from drifting apart due to their various duties, and to further the cause of science. Much of the discussion at X Club meetings revolved around the affairs of the Royal Society, and in the year of the Club's founding, all except one member were Fellows, Thomas Huxley and Busk among them. Both of them were also involved in the Philosophical Club, a "think tank" within the Royal Society. Busk was awarded the Royal Medal of the Royal Society in 1871 ‘for his researches in Zoology, Physiology and Comparative Anatomy’, followed by the Lyell Medal in 1878 and the Geological Society’s Wollaston Medal in 1885. As stated above, the award of his Challenger Medal was made posthumously in December 1895 - prior to the voyage of the Challenger in 1872, a Royal Society scientific party went aboard the "floating laboratory" anchored at Sheerness, and on deck had their photograph taken, among them Busk. His ‘last labours’ were devoted to the preparation of a report on the Polyzoa collected during the expedition, the first part of the work being completed in 1884, and he was in the process of finishing the second part at the time of his death in London in August 1886 - the proofs were later corrected by his elder daughter. During his lifetime, Busk donated mainly Bryozoan material to the Natural History Museum, London, and after his death, his daughters bequeathed the rest of his collection to the Museum - which amounted to several thousand specimens - as well as some books and drawings. The Museum also holds a proof copy of Busk's Challenger work, with his corrections and annotations, and his original drawings. Dr. G. C. Cook's words perhaps

A PAIR OF 19TH CENTURY ENGLISH CREAM WARE CIRCULAR SAUCER DISHES, with hand painted individual botanical decoration, named verso, 8" diameter (see illustration).

A part set of Copeland botanical plates, finely painted with flowers, retailer Daniell, consisting of five plates and two serving dishes

WILFRID BLUNT: THE ART OF BOTANICAL ILLUSTRATION, 1950, 1st edn, New Naturalist Series No 14, orig cl, d/w

19th Century British School - 'Gand Beer Ura Urfi [and] Oenester Genista, Pap. Peranthus faem…' (Botanical Study), watercolour and ink, approx 33.5cm x 20.5cm, within a gilt frame.

Graham Rust - 'Binnias' (Botanical Study), late 20th Century watercolour and pencil, signed and titled, approx 37.5cm x 22.5cm, within a gilt frame.

Graham Rust - Botanical Study of Three Parrot Tulips in Stages of Bloom, late 20th Century watercolour, signed, approx 25cm x 33cm, within a cream frame of moulded section.

Graham Rust - Moonlit Landscape with a Botanical Study before a River and Woodland, framed by a Gothic Arch, late 20th Century watercolour, signed, approx 30cm x 32cm, within a cream frame of moulded section.

Graham Rust - Botanical Study of a Blue Ornamental Cabbage and Peas beside a Snail and Hedgehog, watercolour, signed and dated 1989, approx 26.5cm x 29cm, within a cream frame of moulded section.

Graham Rust - Botanical Study of Bulbs, late 20th Century watercolour, signed, approx 45cm x 34.5cm, within a partially gilt frame of moulded section.

Graham Rust - Botanical Study of a White Hyacinth, late 20th Century watercolour, signed, approx 29.5cm x 24cm, within a cream frame of moulded section.

Graham Rust - Botanical Study of a White Amaryllis, late 20th Century watercolour, signed, approx 51cm x 38cm, within a marbled and gilt frame.

Graham Rust - Botanical Study of a Variegated Parrot Tulip, late 20th Century watercolour, signed, approx 27.5cm x 32.5cm.

A VICTORIAN IRONSTONE CHINA PART DESSERT SERVICE centrally painted with botanical specimens including peonies, irises and pansies, within gilt highlighted apricot and cobalt blue borders and comprising ten dessert plates, a pair of pedestal tazzas and three low pedestal rectangular dishes (15)