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Rupert Shephard (1909-1992). Birds in trees. Limited edition linocut. Rigned in pencil within the margin lower right. Inscribed 'To Ginelle' and II 6/50 lower left. P. 48cm x 38cm. Reven botanical aquatints, each p. 45.5cm x 29.5cm, D. Docherty, 'Untitled after Grunerwald', etching and screenprint, p. 25.5cm x 28cm, unframed (9). (see illustration on our website)

A pair of botanical watercolours, a botanical oil and a watercolour, Garden path.

A lady artist silk embroidered tea cozy decorate with flowers, 26cm wide, a pair of copper bookends named Kit Turner, silk thistle picture, two tartan postcards, four botanical prints (10)

Four botanical watercolours mounted in gilt frames (4) 30cm wide, 37cm high

A Old English oval dish, finely hand painted, two handled, having cartouches of botanical specimens within a cream ground, the handles moulded a crown, thistle, clover and rose, 9 1/4" x 6", together with a Doulton blue and white Willow pattern bowl, 7" diameter (2)

A late 18th century creamware botanical comport, the navette shape painted with 'Ladies Slipper' and 'Great Flowered Bell Flower' on the side and 'Perennial Sunflower' in the interior, impressed S mark, 33.5cm across the handles (W)

RHIND W. History of the Vegetable Kingdom, 1870, rebound calf spine, marbled boards, cold. engs., and seven other mainly botanical vols. including one vol of Magazine of Botany. 8 vols

After Longobardi - Botanical Studies, a collection of 19th Century lithographs by Petraroja, together with a large group of various botanical prints, including a group of monochrome floral studies after Redouté.

An oak Box containing various Botanical Specimens with sliding lid.

Assorted Botanical and Horse Racing Prints (qty)

cole (R.V.) British Trees, Drawn and Described, 1907 2 vols, fo. (cl. worn, vol. 1 lacking title); Blunt (W.) The Art of Botanical Illustration, 1951, dw; Pratt (A.) The Ferns of Great Britain, n.d., cold. plts, a.e.g. (cl. worn); Cornish (V.) Historic Thorn Trees in The British Isles, n.d., orig. cl; [Dodoens (R.) A Nievve Herball or Historic of Plantes] pages 15-282 only, no title page, 31cm x 19.5cm, possibly the 1578 ed. (see Blanche Henry #110); with Nine Other Volumes on natural history and dogs (15)

Joachim Diuter, German mid 20th century- Botanical floral study; pen and brown ink and watercolour, signed and dated 1949, inscribed on the reverse of frame 'Unser' Lieben Freundin Jugendwohneim Muetterlichen Eleonor Loscher Amblauen Stein', 58x39cm: Albany E Howarth ARE 1872-1936- 'Ben Lavers'; etching, signed inscribed and titled in pencil, 19x18cm., (2) (may be subject to Droit de Suite)

Charles Lloyd, Australian b.1930- 'Night'; aquatint printed in colours, signed, titled, numbered 5/25 and dated 67 in pencil, 29x39cm: Arnold Auerbach 1898-1978- Figures in a parkland setting; etching, signed and dated 49 in pencil, 13x19cm: Ru van Rossem b.1924- 'The Fruit seller'; etching printed in colours, signed, titled, inscribed 'Epreuve d'Artiste' and dated 56 in pencil, 49.5x30cm: Dolf Rieser 1898-1983- Botanical study; etching printed in colours, signed and numbered 13/50 in pencil, 50x22.5cm: together with a print by Albany Wiseman b.1930, Ralph Brown b.1928 and one unknown hand, (7), (part unframed). (May be subject to Droit de Suite)

After James Sowerby 1756-1811- 'Dwarf geranium'; published by W Curtis, Botanical Garden, Lambeth Marsh 1767, hand-coloured engraving, a pair in a common mount, together with six similar 18/19th century hand-coloured botanical engravings after James Sowerby and Sydenham Teast Edwards c.1768-1819, in matching common mounts and frames, to include 'Marsh Mallow Leaved Hermannia, 'Spanish Broom, 'Porcelain Heath, Hairy Kalmia, Dwarf Almond' and others, (8) (framed and glazed)

* Natural history. Twenty-three colour plates after Thorburn, c.1915, various animals, each 300 x 230 mm, together with eleven hand coloured botanical plates after E.D. Smith (each 160 x 125 mm), and two others, all mounted. (35)

* Prints & engravings, a mixed collection, 19th & 20th century, including Cicely Barker flower fairies, Depping maps of French departments, engraved views from grose's Antiquities, various naural history plates, five 1930s/40s albums containing botanical watercolour drawinsg, etc. (a carton)

Culpepper (Nicholas). The British Herbal and Family Physician, to which is added a Dispensatory for the Use of Private Families, 2 parts in one, pub. Halifax, Nicholson, c.1840, eng. vign. title, seven medical plts. (one frayed at edges and laid-down), fifty-two hand-col. botanical plts. at rear, some browning, spotting and staining, some leaves repaired at fore-edge, recent full morocco gilt, thick 8vo. (1)

New Naturalist Series, 20 vols., mixed eds., 1945-77, col. and b & w illusts., orig. cloth gilt, all in d.j.s except 5 vols. (most torn, some with loss), 8vo. Titles are: Wild Orchids of Great Britain; Wild Flowers of Chalk & Limestone; An Angler's Entomolgy; Insect Natural History; Inheritance & Natural History; Natural History in the Highlands and Islands; The Sea Shore; London's Natural History; British Game; Butterflies; The Wren; Sea-Birds; The Art of Botanical Illustration; The Open Sea; Man & the Sea; Folklore of Birds; Fleas, Flukes & Cuckoos; The Yellow Wagtail; The Redstart; The Herring Gull's World. (20)

Tray of Pottery To Include Laura Ashley Botanical Jug, Stone Ware Jar, Colouroll Planter, White Swan Planter etc (9)

A selection of miscellaneous cups and saucers to include Art Deco coffee cans, Worcester botanical set etc.

A 19th century blue and white transfer decorated meat platter 'Botanical Beauties', 38 cm to/w a willow pattern meat plate, 45 cm (2)

Chelsea Red Anchor Hans Slone Style Botanical Plate circa 1755

Rare Derby Botanical Style Dish circa 1760 with Fruit and Insects in the Style of the Moth Painter, minor chip

A COLLECTION OF PORTMEIRION BOTANICAL GARDEN PATTERN CHINA, to include: dinner plates, dessert plates, cups, saucers, etc., approximately 38 pieces

PACKET: BOTANICAL PRINTS

WILFRID BLUNT'S COPY OF CURTIS'S BOTANICAL MAGAZINE. CURTIS, William. The Botanical Magazine; or Flower-Garden Displayed, 44 volumes in 31, approximately 2365 plates, almost all coloured, of which 206 are folding. The volumes are: I to XV (1787-1801), XXII to XXIV (1805-1806), XXIX to XXXIII (1809-1812), XXXVII to XLII (1813-1815), XLV to IV of the third series (1818-1830). Earlier volumes are untrimmed, though all are generally good internally with fine colouring; some offsetting and foxing. Bindings and sizes vary with rubbing and damage particularly to many spines with some splitting. Blunt's ownership name appears in pencil in a few of the volumes, Provenance: Wilfrid Blunt and by family descent, Blunt in his famous work 'The Art of Botanical Illustration' (Collins 1950), includes a chapter on The Botanical Magazine, and no doubt must have made good use of his albeit harlequin copy of Curtis

Landscape Gardening and History. WILLIS, Peter. Charles Bridgeman and the English Landscape Garden, 1977; JEKYLL, Gertrude. Garden Ornament, 1982, lacks dust wrapper; Batsford Gardens of Britain Series, 4 volumes, 1978-1979; STROUD, Dorothy. Capability Brown, 1950, lacks dust wrapper; BLUNT, Wilfrid. The Art of Botanical Illustration, 1967 etc circa 75 volumes including some small booklets

English School - Seven various 19th Century watercolours - Botanical studies, unframed

Robert Adam (1728-1792) Two designs for schemes at Osterley Park, one with a central flower spray with two poles supporting urns and swags and with two parrots all within an anthemion border, the other with a central floral spray witin an anthemion band, a band of entwined flowers and a geometric and floral border, Pencil and watercolour, One pricked for transfer, sheet size, 50.7cm x 45.5cm. The second possibly a pole screen banner design. Provenance: Commissioned by Robert and Sarah Child from Robert Adam in 1777 for Osterley Park and thence by descent to the Earls of Ducie. Sarah married in 1791, as her second husband, Thomas Moreton, 3rd Baron Ducie and these drawings have since remained in the Ducie family. These three drawings were part of a folio including botanical and ornithological studies which Sarah Child had collected in the 1790's. Some of the botanical and ornithological studies were by George Raper, a Midshipman on the First Fleet to Australia in 1787, which had been acquired by Sarah through her friendship with her near neighbour Sir Joseph Banks. They were bought in 2005 by the National Library of Australia in a Private Treaty sale organised by Dreweatt Neate. Robert Adam is without question the most important neo-classical architect working in Britain during the second half of the eighteenth century. Following success in Scotland with his brothers in the family practice (succeeding their father William Adam 1689-1748) Robert Adam's international reputation stemmed from his Grand Tour to Italy. The three years he spent there from 1754 to 1757 fired his passion for ancient classical forms and decoration. Adam returned to London rather than his native Edinburgh in order to embark upon a career that revolutionised taste in architecture and interior decoration. His drawings from Italy provided a source of direct inspiration from which a substantial number of commissions from the wealthy and aristrocratic were gained. The importance of Adams work at Osterley Park is signified by its demonstration of Adam's invention of the English 'Etruscan' style that was the product of his matured vision. In his book 'Dictionary of Art' Damie Stillman (I.I37) states that 'The Etruscan dressing room is the finest surviving example of his style, inspired by Piranesi and 'Etruscan' vases, but developed by Adam into the height of elegant, brittle and flat Neo-classical decoration'. The fire screen for which this panel was designed survives in situ at Osterley Park in the Etruscan dressing room. The screen was also made to a design by Adam. It has been suggested that Thomas Chippendale made the screen, however other firms to include Linnell and Ince and Mayhew are known to have executed pieces of furniture for the house. Throughout his career Robert Adam kept copies of the designs he provided his clients. Some of the drawings (notably sketch-designs) are from Adams own hand, others were prepared by the assistants he employed. The drawings were kept together by relatives after Adams death until 1833 when a collection of almost 9000 drawings were bought by the architect Sir John Soane. The collection remains in the museum founded in his house in London. Among the collection at the museum are 35 drawings which relate and cover many aspects of the Etruscan Room at Osterley Park. There are four designs in the museum for the embroidered panel of the screen (Vol.17, No.s 141,142,143, 145). According to the account of Eileen Harris (The Furniture of Robert Adam. 1973. Academy Editions. p.105) the final design from which the screen was embroidered is dated 14 April 1777. As the drawing currently being offered is inscribed with the same date and and has been subsequently re-dated May 1777, this would signify that this was in fact the clients copy and the final drawing from which the screen was embroidered by Mrs Child. These three drawings are of particular importance because they reflect the late stage of Adam's development in the Etrus

Robert Adam (1728-1792) 'Design of a Fire Screen for Mrs Child for the Etruscan Room at Osterly (sic)', Pen, ink and watercolour, Inscribed, dated '1777' lower left and dated 'April 14th 1777, altered the 25th' lower right. On one sheet of paper, the centre section cut out and replaced with a revised design and the whole pricked for transfer to the silk banner, 62cm x 47cm. Provenance: Commissioned by Robert and Sarah Child from Robert Adam in 1777 for Osterley Park and thence by descent to the Earls of Ducie. Sarah married in 1791, as her second husband, Thomas Moreton, 3rd Baron Ducie and these drawings have since remained in the Moreton family. These three drawings were part of a folio including botanical and ornithological studies which Sarah Child had collected in the 1790's. Some of the botanical and ornithological studies were by George Raper, a Midshipman on the First Fleet to Australia in 1787, which had been acquired by Sarah through her friendship with her near neighbour Sir Joseph Banks. They were bought in 2005 by the National Library of Australia in a Private Treaty sale organised by Dreweatt Neate. Robert Adam is without question the most important neo-classical architect working in Britain during the second half of the eighteenth century. Following success in Scotland with his brothers in the family practice (succeeding their father William Adam 1689-1748) Robert Adam's international reputation stemmed from his Grand Tour to Italy. The three years he spent there from 1754 to 1757 fired his passion for ancient classical forms and decoration. Adam returned to London rather than his native Edinburgh in order to embark upon a career that revolutionised taste in architecture and interior decoration. His drawings from Italy provided a source of direct inspiration from which a substantial number of commissions from the wealthy and aristrocratic were gained. The importance of Adam's work at Osterley Park is signified by its demonstration of Adam's invention of the English 'Etruscan' style that was the product of his matured vision. In his book 'Dictionary of Art', Damie Stillman (I.I37) states that 'The Etruscan dressing room is the finest surviving example of his style, inspired by Piranesi and 'Etruscan' vases, but developed by Adam into the height of elegant, brittle and flat Neo-classical decoration'. The fire screen for which this panel was designed survives in situ at Osterley Park in the Etruscan dressing room. The screen was also made to a design by Adam. It has been suggested that Thomas Chippendale made the screen, however other firms to include Linnell and Ince and Mayhew are known to have executed pieces of furniture for the house. Throughout his career Robert Adam kept copies of the designs he provided his clients. Some of the drawings (notably sketch-designs) are from Adam's own hand, others were prepared by the assistants he employed. The drawings were kept together by relatives after Adam's death until 1833 when a collection of almost 9000 drawings were bought by the architect Sir John Soane. The collection remains in the museum founded in his house in London. Among the collection at the museum are 35 drawings which relate and cover many aspects of the Etruscan Room at Osterley Park. There are four designs in the museum for the embroidered panel of the screen (Vol.17, No.s 141,142,143, 145). According to the account of Eileen Harris (The Furniture of Robert Adam. 1973. Academy Editions. p.105) the final design from which the screen was embroidered is dated 14 April 1777. As the drawing currently being offered is inscribed with the same date and and has been subsequently re-dated May 1777, this would signify that this was in fact the clients copy and the final drawing from which the screen was embroidered by Mrs Child. These three drawings are of particular importance because they reflect the late stage of Adam's development in the Etruscan style. The drawing for the screen also allows us to trace t

Curtis's Botanical Magazine, thirty two issues, 1976 - 1998, and The Key magazine, forty one issues 1984 - 1994

A set of twelve English porcelain dessert plates, with pompadour pink borders and floral vignettes, each painted with a central botanical study, possibly Samuel Allcock, 24cm (9 1/2in)

CHARLOTTE GOODLAD (19th century) a collection of eight named botanical illustrations, of varying sizes together with a loose pencil drawing, all contained within a gilt decorated leather album.

* Botanical engravings. Jacquin (Nicolaus Joseph von), 48 uncoloured engraved plates contained in a single incomplete volume of Selectarum stirpium Americanarum Historia, 1763,. bound in contemp. calf, folio, together with a large collection of over 700 botanical engravings from David Dietrichs Flora Universalis, c.1830s, and two odd vols. of Hulmes Familiar Wild Flowers (a carton)

* Botanical prints. A collection of 300 chromos. of flowers, late 19th century,. each 190 x 125 mm (approx. 300)

* Botanical prints. A large collection including hand coloured engravings & lithos., mostly 19th century,. after Curtis, Edwards, etc. (approx. 600+)

* Botanical watercolour. An original Austrian study of a bouquet of flowers in a vase, c.1900,. 145 x 110 mm, highly decorative frame incorporating gilt work and semi-precious stones (1)

* Natural history. A collection of approx. 1000+ prints, mostly 19th century,. incl. engravings of birds, botanical prints, etc., some hand coloured (3 cartons)

* Read (David Charles, 1790-1851). A group of four landscape etchings,. unsigned, various sizes (plate size approx. 100 x 235 mm and smaller), each mounted, together with Gavarni. Les Parens Terribles, plate 18 (Masques et Visages), c. 1850, hand-coloured lithograph, sheet size approx. 375 x 260 mm, mounted, plus Eeckhout (Gerbrandt van den, 1621-1674), Examining Botanical Specimens, hand-coloured etching, trimmed to margins, approx. 90 x 127 mm, mounted, and six other uncoloured continental landscape etchings, late 17th/early 18th c., including views after Ruisdael, Stefano della Bella, Zeeman, etc. (12)

Henrey (Blanche). British Botanical and Horticultural Literature Before 1800, 3 vols., OUP, 1975, col. & b & w illusts., orig. cloth, 4to (3)

Curtis (William). The Botanical Magazine; or, Flower-Garden Displayed, vols. VII-XII bound in three, 1794-98,. 214 (of 215) hand coloured engraved plates, lacking plate 402 to final vol., occn. minor marginal foxing (contents generally in clean condition), untrimmed, contemp. owners signature of J. W. H. Chetwind to front endpaper of each vol., contemp. half sheep, morocco label to spine of each vol., rubbed and marked, joints partly cracked, with some wear to extrems., large 8vo (3)

Gerard (John). The Herball or Generall Historie of Plantes. Gathered by John Gerarde of London Master in Chirurgerie, Very Much Enlarged and Amended by Thomas Johnson, 2nd ed., printed by Adam Islip, Joice Norton & Richard Whitakers, 1633, pp.[xxxvi]+1630+[48], eng. title (dusty, frayed to margins and laid down), numerous botanical woodcuts to text, second leaf repaired to gutter, last text leaf mostly torn away, lacking prelim. blank, early ms. notes to final blanks, endpapers renewed, 18th c. panelled calf, rubbed, rebacked and recornered, folio henrey 155; STC 11751. (1)

Sweet (Robert). The Botanical Cultivator, or Instructions for the Management and Propagation of the Plants Cultivated in the Hothouses, Greenhouses, and Borders, in the Gardens of Great Britain, Ridgway, 1821,. bookplt. to front pastedown, contemp. half sheep, rubbed, 12mo, together with Smith (Sir James Edward), The English Flora, 5 vols. in 6 (vols 1-4 2nd eds.), 1828-33, contemp. half morocco gilt, rubbed, 8vo (7)

Veitch (James Herbert). Hortus Veitchii, a History of the Rise and Progress of the Nurseries of Messrs. James Veitch and Sons, together with an Account of the Botanical Collectors and Hybridists Employed by Them..., pub. James Veitch & Sons, 1906, numerous b & w plts., t.e.g., remainder untrimmed, orig. cloth gilt, damp-stained, 4to (1)

An early 19th Century English porcelain botanical plate, possibly Coalport, painted with 'Cactus Grandiflora Creeping' within a turquoise enamelled and gilt frame, the rim with pink roses and gilt stylized foliage, blue script title to reverse (restored), together with a Derby botanical plate painted with a 'Great Daffodil', two other floral painted English porcelain plates and a framed Wedgwood style circular plaque (some faults).

A 19thC porcelain botanical dessert plate, painted with roses to the centre within a deep pink moulded border, 9¾" dia; a Derby plate, with a border pattern in iron red, green and gilt, of shamrock, scrolls and swags, c1810, 9¾" dia; a pair of modern Royal Worcester plates, decorated to the centre with a floral spray, within heavily gilt pastel borders, 10½" dia. (4).

A Bloor Derby porcelain part botanical dessert service, comprising tea plates, each painted to the centre with differing flowers, within grey borders gilt with scrolls, foliage, circa 1840, 10¼" dia.

A group of six items, including a reproduction of a flower piece, two botanical chromolithographs, an oil after Van Gogh and two watercolours.

A PAIR OF ROYAL WORCESTER BOTANICAL DESSERT PLATES painted with floral specimen within pink and turquoise gilt seaweed and "beaded" borders, 9", impressed mark, and a collection of other Worcester plates (a lot)

ENGLISH SCHOOL, circa 1800 A botanical study of a foxglove on a black ground, bodycolour, 21" x 111/2"

Great Britain. 1840-1978 Mint and used collection in two Lighthouse hingeless albums. Including 1840 1d black (4) (faults), 2d blue (2) faults. A range of line engraved and surface printed Victorian issues, 1867 5s rose Wmk Maltese cross, 1887 Jubilee set. Sea horses to 5s, 1939-1948 high values. Range of Postage Dues including 1936-1937 used set, Officials. Jersey and Guernsey mint issues mint. QEII mint Wilding sets, 1963 Lifeboat and Red Cross phosphor sets, 1964 Geographical Congress and Botanical Congress phosphor mint sets, 1959-1963 Postage Dues mint, booklet panes and coil strips etc

A good set of thirty one 19th Century Copeland and Garrett circular Plates, all with foliate and scroll gilded rims, blue borders and each well painted in the centre with botanical designs, (five hairline cracked), all 10” diam

British School Mid 19th Century- Botanical Study of flowers; watercolour, 27x22cm: After W H Fitch 19th Century- 'Iris Kaempferi'; lithograph printed in colours, (2)

Fifteen miscellaneous gilt framed botanical and bird prints, also a print after J.F Herring of a horse. (16).

Henrey (Blanche). British Botanical and Horticultural Literature before 1800, 3 vols., Oxford Univ. Press, 1975, signed by author on title, orig. cloth gilt, orig. pubs. slipcase, 4to, together with Ritchie (Neil), Sacheverell Sitwell, An Annotated and Descriptive Bibliography 1916-1986, Giardo Press, 1987, frontis., orig. cloth in d.j., 8vo, plus Linder (Leslie), A History of the Writings of Beatrix Potter, reprinted with revisions, 1987, orig. cloth in d.j., 8vo, and Harvey (P.D.A.) and Harry Thorpe, The Printed Maps of Warwickshire 1576-1900, Warwick, 1959, frontis., orig. cloth in stained d.j., 8vo, togehter with twenty-one others, bibliography etc., mostly literary (27)

Hunt (Rachel McMasters Miller). Catalogue of Botanical Books, 2 vols., 1958-61, facsimile ed., Martino Publishing, n.d., c. 1990s, orig. cloth gilt, 8vo, together with Schwerdt (C. F. G. R.), Hunting, Hawking, Shooting Illustrated in a Catalogue of Books, Manuscripts, Prints, and Drawings, 4 vols. bound in two, 1928, facsimile ed., Martino Publishing, 2001, b&w illusts., orig. cloth, large 8vo, plus Higginson (A. Henry), British and American Sporting Authors, Their Writings and Biographies, Berryville, Virginia, Blue Ridge Press, 1949, some b&w plts., orig. green cloth gilt in glassine tissue d.j., with matching slipcase, 4to, and Biscotti (M. L.), American Sporting Books Series, Madison, Ohio, Sunrise Publishing Co., 1994, b&w illusts., orig. green cloth gilt in glassine tissue d.j., with slipcase, 4to, plus Rehder (Alfred), The Bradley Bibliography, A Guide to the Literature of the Woody Plants of the World, published before the beginning of the 20th Century, 5 vols., 1911-18, facsimile ed., pub. Martino Publishing, n.d., c. 1990s, orig. uniform brown cloth gilt, thick 8vo, and other natural history bibliographical interest, including Whittell, Literature of Austrlian Birds, Zimmer, Catalogue of the Edward A. Ayer Ornithological Library, etc., all Martino reprint editions, 8vo (17)

*Album. A 19th c. album containing twenty various watercolours and drawings, mainly 19th c., including four pen, ink and watercolour drawings of Persian costume, dated 1865, three Japanese pen, ink and watercolour landscapes with figures, dated 1868, a Japanese woodblock print on crepe paper, a pen, ink and watercolour profile portrait of the Contessa Baldelli by Gilabert, dated Florence, 1860, a late 17th c. pen & brown ink botanical drawing of a posy of flowers, a watercolour view of Sir George Walker's mansion at Madras, 1859, by E. Bredin, 1889, a pencil sketch of two Crimean soldiers by J. D. Luard, a small-format pen, ink and watercolour study of a young beauty by G. Stewart, 1841, a pencil and white chalk study of two putti singing from a book of music, probably early 18th c., etc., all mounted onto thick card leaves in contemp. album, sheet size approx. 255 x 117 mm (10 x 6.75 ins), orig. dark green morocco with decorated pressed metal design inset to each cover, small 4to.. See illustration insode front cover of catalogue. (1)

*Botany. A collection of twenty-eight hand coloured engraved botanical engravings after Johann Wilhelm Weinmann, 18th century, some minor toning and spotting, plate dimensions approx. 320 x 210 mm (approx. 28)

*Botany. A collection of twenty-eight hand coloured engraved botanical engravings after Johann Wilhelm Weinmann, 18th century, some minor toning and spotting, plate dimensions approx. 320 x 210 mm (approx. 28)

Costume. A collection of 19 miniature hand coloured engravings of Italian costumes, all individually framed and glazed, together with thirteen hand coloured engraved plts. of Swiss costume, plus others including twelve Ariel press colour botanical prints after Redoute, framed and glazed (a carton)