We found 14378 price guide item(s) matching your search

A New Map of the County of Suffolk divided into Hundreds, printed for C. Smith of 172 The Strand, 44 x 50cm; together with a companion map of Norfolk; and a botanical print (3)

John King - Away from the Norfolk Clump, limited edition sporting print, signed and numbered in pencil to the margin, from an edition of 250; together with one other by the same artist; another sporting print, botanical print, and an amateur watercolour (5)

Caithness Glass paperweight - Golden Botanical Series 3, a unique paperweight designed and made by Colin Terris, No. 1/1, with box and certificate

Pair of botanical coloured prints, framed under glass, sizes overall 47 x 58cm (2)

David Pearson, 'Araucaria', botanical watercolour, framed under glass and dated 199635 x 50cm

A large Portmeirion 'Botanical Garden' fruit bowl.

Six hand coloured late 18th century botanical studies mounted, framed and glazed as one

An Emma Bridgewater enamel milk jug, storage jars, Botanical Garden plates, dishes etc.

MOLL (HERMAN)Map of Asia According to ye Newest and Most Exact Observations, large hand-coloured engraved map on 2 sheets joined, large allegorical cartouche dedicated to William, Lord Cowper, 7 small inset maps, neatly repaired at old vertical folds, 570 x 930mm., J. Bowles, T. Bowles and Philip Overton, [c.1730]--VUILLEMIN (ALEXANDRE) Nouvelle carte illustré de l'Asie, engraved map hand-coloured in outline, 14 views of Asia and 2 botanical subjects in vertical margins, a few short marginal tears repaired, 595 x 850mm., Bulla and Delarue, 1861--BELLLIN (JACQUES NICOLAS) Carte réduite de l'Ocean Oriental ou Mer Indes. Seconde edition pour servir aux Vaisseaux du Roy... dresseé au Dépost des Cartes et Plans de la Marine, hand-coloured engraved map, large decorative cartouche, 580 x 880mm., [Paris], Bellin, 1757; and a pictorial poster advertising The British India Steam Navigation Company Limited (4)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

18th and 19th Century British SchoolSydenham "Teaste" Edwards (1768-1819) et alFour floral studies published in the Botanical Magazine and Horticultural Cabinet,circa 1791 and 1842 respectively,hand-coloured engravings,each approximately 20 x 12cms, uniformly framed. (4)

Charlotte Strickland (1759-1833, British), Great Bur Read & Square Stalked St. Johnswort, two 19th century botanical prints, framed. H.58 W.42cm. (each)

AFTER ROBERT MORDEN "Herefordshire" black and white map 37.5 cm x 43 cm, AFTER ROBERT MORDEN "Herefordshire" coloured engraving map 37 cm x 43 cm, AFTER J RUSSELL "Map of the country surrounding London to the extent of 30 miles" coloured engraving 39.5 cm x 45 cm together with AFTER MADELINE SELFE "The Duke of Beaufort with his hounds in Badminton Park 1973" limited edition colour print No'd 277/350 and signed in pencil bottom right, a watercolour botanical study and a further botanical study (6)

Set of six 19th Century hand painted porcelain Worcester botanical dessert plates with gilt ivy decorated rims and floral designs; apple blossom, foxgloves, pansies etc and two Shelley 'Woodland' English fine bone china plates. (8)(B.P. 21% + VAT) Worcester - one plate has large crack. All have some crazing and some loss to gilt on base. A couple have surface scratches and frits to bases. Shelley - generally good, some minor wear/scratches to surface.

BOWLES, Caroline - The Birth-Day; A Poem, in three parts: to which are added, occasional verses. Cont. diced calf lacking label. EXTRA ILLUSTRATED with five pen sketches thought to be in the hand of the author, and one botanical water colour, with a pen sketched presentation page. 8vo. Blackwood & Cadell, first edition, 1836.

A PAIR OF 19TH CENTURY BOTANICAL LITHOGRAPHS Anaxagorea Javanica and another, Tab I and XXXII, Sixtus after Arkenhausen, ; with two other botanical illustrations, and a framed coloured ornithological engraving (5 in total)

After Anne Pratt, six botanical prints, to include sloe / plum, elder, red currant,hand-written note on back of frame states 'Original wood engraving, 1863', 22x14.5cm, all framed and glazed.Qty: 6

Watercolour, still life of flowers, signed Wilson, 47cms x 36cms, together with two other framed watercolour botanical studies

Emma Tennant, British b.1943 - Daffodils, 1990; ink and watercolour on paper, signed and dated lower right 'Emma Tennant 1990', 30.6 x 11.5 cm (ARR) Provenance: private collection Note: the artist's work was recently the subject of an exhibition at the Garden Museum, 'Emma Tennant: A Botanical Tour of Great Britain from the Scillies to Sutherland' in 2019. 

Two 18th and 19th century books. Nicholas Culpepper, The English Physician Enlarged London 1741; M Robinson, The New Family Herbal and Botanical Physician, c. 1870.

TROWBRIDGE GALLERY PRINTS, set of three botanical prints, wooden frames with gallery labels verso, each approx 43cm x 53cm (inclu. frames)

Five botanical prints in clip frames

A GROUP OF LATE 18TH AND 19TH CENTURY PORCELAIN, including a pair of Royal Worcester botanical study dessert plate, pattern no. 8354, impressed factory marks, three pieces from a Royal Worcester dessert service, decorated with a Neo-classical design, retailed by A. B. Daniell And Sons, a late 18th century tea bowl and a Victorian porcelain part tea service, etc (Qty) (Condition Report: in mixed condition, the pair of Royal Worcester dessert plates are ok but one has crazing to the underside, tea service is heavily worn, incomplete and some pieces damaged, the three pieces of Royal Worcester are heavily worn)

Botanical History. Allan, Mea - The Hookers of Kew 1785-1911. London: 1967, 1st. In dust-jacket. With; two others. (3)

Paul Calle (1928 - 2010) and Chris Calle (B. 1961) "1930s - Bobby Jones & Golfing" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which was published on the Fleetwood First Day Cover for the U.S. 32c Bobby Jones/1930's 20th Century stamps issued September 10, 1998. Those who knew Bobby Jones as a child would never have expected that he would one day become a golfing legend -- the greatest amateur ever to play the game. He was frail and awkward looking, with a head too large for his body. He also suffered from a digestive ailment that doctors believed would kill him before he was fully grown. Yet Jones became the first man to win golf's coveted grand slam, winning in a single year the four major tournaments of the time. In 1930 he captured the the U.S. Open, the British Open, the U.S. Amateur and the British Amateur titles, then promptly retired at the age of 28 with nothing left to prove. In a seven year span (1923-1930) he won 13 of the 27 major tournaments he played in. Although Jones attracted huge galleries and helped make golf a major sport, he was a practicing lawyer who never played the game for money. In retirement, Jones made a series of motion picture shorts demonstrating the basics of the golf swing. But perhaps his greatest contribution to golf came when he helped convert a botanical garden in Augusta, Georgia, into the most revered golf course in the nation, then founded the tournament bearing the one name that would do it justice -- the Masters.Image Size: 16.5 x 11.5 in. Overall Size: 20 x 16 in. Unframed. (B16178 / B16179)

Housed in a wooden frame depicting a view of a botanical garden. Frame size: 6.25in W x 8.25in H. Sight size: 4.5in W x 6.5in H. Condition: Age related wear.

BOTANICAL PRINTS, a set of four, framed and glazed, 70cm x 50cm. (4)

BOTANICAL PRINTS, a pair, framed and glazed, 56cm x 41cm. (2)

Portmeirion, mainly Botanical pattern ceramics, to include, salt and pepper, four teacups and saucers, toast rack, jug etc (24)

A ROYAL COPENHAGEN 'FLORIA DANICA' RELISH DISH shape number 20 3543, decorated with a botanical study, a blue wave mark, green painted mark, and inscription of the flowers species to the base, 17.5cm long x 10cm wide

An early 19th Century commonplace album/scrapbook c.1820, containing several well executed pen, ink & watercolour sketches, including botanical studies, insects etc, plus manuscript poetry, verse, prose extracts etc, mounted engravings (some hand coloured), etc, ownership signature of A. Garbutt, Hull, at front, contemporary calf covered in later decorative floral silk, inner joints split, contents loose

A selection of over 25 various mounted and unframed botanical studies including Redout's coloured botanical engravings and various unframed early flower studies etc.

Eight Limoges for Thomas Goode London hand painted plates, botanical designs, three painted by G Amaruso Manzari, each 31cmD

* ROGER BANKS (SCOTTISH 1929 - 2008), FROM THE SILVER GARDEN, AUTUMN GOLD watercolour on paper, signed, titled and dated '73mounted, framed and under glass image size 39cm x 27cm, overall size 57cm x 44cm Note: Roger Banks was a botanical artist, extensively published writer, period-house restorer, expert on the Antarctic and "harbour master emeritus" at Crail, the East Neuk of Fife fishing village.

Sydenham Teast Edwards (1768 - 1819, Welsh), Specimen 189 & 140, two framed botanical prints. H.33 W.26cm.

N. Riegen (20th century) still life of a pear and blackberries, oil on canvas, signed and framed, together with coloured botanical print after Jan van Huysum. H.74 W.64cm largest

Fine Original Mid-Nineteenth Century Drawings Botanical Watercolours: An oblong 8vo Mid-19th Century Album of 60 pages, with approx. 106 orig. Botanical Drawings of mostly Irish flowers & shrubs, each identified, & many with location of where found, Connemara, Clifden c. 1860, Woodroof, Powerscourt etc., each c. 14.5cms x 23cms, orig. hf. mor. A very competent artist at work. As watercolours, w.a.f. (1)

Botanical Interest:  A folio Album of dried floral and other plant specimens, c. 1900, including hawk weed, sheep sorrel, honeysuckle, wild strawberry, fools parsly, tufted vetch, and others, mostly identified, approx. 30 pages, hf. calf, cloth boards, as a collection, w.a.f. (1)

Important Travel Sketch Book Co. Wicklow:  [WYNNE FAMILY SKETCHBOOK]  A Family Scrapbook of Watercolours, Photos and Postcards of the Wynne Family of Tigroney, County Wicklow, Titled on upper cover ‘A Trip by Sea and Land’.  Dedicated to J.B. Wynne By the Compilers (mother and daughter?) AKW (Alice Katherine Wynne) & ACVW (Alice Clara Veronica Wynne). The first watercolour is of the family with their luggage about to set off on a voyage in the steamer SS Vondel, during the months of March, April and May, 1911. The cruise took the family to Portugal, Tangiers, Algiers, Genoa, San Remo, Genoa to Florence, Venice, Burano, Padua, etc. There are some 75 watercolours, 32 photographs and 35 cards (some coloured) pasted neatly into the scrapbook. Home-made large quarto album in original brown wrappers, titled in manuscript with watercolour decorations and picture of ‘SS Vondel’ laid on upper cover, surrounded by seagulls and dolphins, a steam train through high mountains (Alps) is depicted in the lower half.  A most attractive and artistic item. Contents includes watercolours of : The Family; Arthur Augustus Wynne parting from his beloved Slasher; Last Minutes at Avoca Station; Friends at Waterloo Station; Southampton Water, Isle of Wight, Last View of English Coast, Portuguese Coast; Mouth of the Tagus; Flock of Lambs, Tangiers, Arab Costumes; In the Native Town; J.B. Wynne as Lace Connoisseur shopping for Alice Katherine Wynne; The Party in desperate straits, befriended by Signore Romanelli; Consumption of Pasta, Signora Scappini; The Signorine Giannini, etc. Emily Adelaide Wynne (1872-1958) Irish textile artist at Avoca Woollen Mills, was born in Germany in 1872. Her parents were Albert Augustus Wynne, a civil and mining engineer, and Alice Katherine (nee Wynne). She was the eldest of five children, with three sisters, Winifred Frances (1873-1969), and Alice Clara ‘Veronica’ (1890-1969), and two brothers John Brian (1877-1977) known as Jack and Charles (1895-1917). The Wynne family were originally from Hazelwood or Annagh, County Sligo, and were related to Dr. Kathleen Lynn and Constance Markievicz.  Their family home was the Georgian Tigroney House, beside the Avoca Woollen Mills in the village of Avoca, County Wicklow. Along with his brother, Wyndham, their father held mining interests in Germany, with the family frequently visiting the country.   Following the collapse in value of their mining investments, the Wynne brothers pulled out of German mining in 1908, and refocused on local Irish projects.  This focused Wynne’s mother on her daughters' need to develop a vocation to support themselves, encouraging them in intellectual and creative pursuits. The Wynne sisters were most likely educated at home by governesses. Frances trained in designing patterns for damask work from around December 1901 to March 1902 at Andrew S. Robinson Designing Rooms, Wellington Place, Belfast. Having attempted to sell her designs to some Belfast linen mills, she learnt the practical and economic realities of creating a design suitable for production. Wynne, her sisters and her mother ran a lace repair and sales business from around 1905 to 1916, to supplement the family’s income.  Wynne ran the business again after World War I using her contacts in Europe. Both of Wynne’s brothers fought in the war, with Charles dying in France from injuries he sustained.  Wynne also wrote a novel with her sister Alice Clara Veronica, “Every Dog” (1929), published under the pseudonyms E. and B. Pringle-West.  The sisters took over the running of the Avoca Woollen Mills in 1927, which was originally founded in 1723. The mill became known for its strong and unusual colours, which at the outset are reported to have been by accident. The Wynne’s capitalised on this reputation, using unusual colours in their cloth with new lines, which proved a success overseas. The mill was soon supplying fabrics to fashion designers in France and woollen items to the United States. Wynne developed her own signature pink, along with other colour derived from her botanical knowledge allowing her to source and grow plants in their large walled garden for dyes. She became known for cultivating primulas including one named “Julius Caesar”.  The Avoca Woollen Mills products were sold through the Country Shop on 23 St. Stephen’s Green, Dublin, and supplied tweed to the designer Elsa Schiaparelli. Wynne visited Schiaparelli in Paris in 1933 and 1937. She also made a trip to New York and Boston in 1935 with the American agent Carol Brown. They opened a shop in London in the 1930s, overseen by Wynne’s cousin, Barbara Donovan, acting as the mill’s English agent.   The company was at its peak in the 1940s, employing 70 men and producing 500 yards of cloth a week. Papers, diaries and other archival material from Wynne and her sisters are held in the Manuscript collection of the Library of Trinity College, Dublin.  As an Album, w.a.f. A unique and interesting item.  (1)

BLUE & WHITE TRANSFER PRINTED PLATES - circa 1810 and later, various makers including Rodgers & Dillwin & Co, Wild Rose, Botanical Beauties, Indian Temple, Tivoli, Monopteros ETC, 26cms diameter average, 30 pieces

SIX 19th CENTURY HAND COLOURED BOTANICAL PRINTS, GILT FRAMES. TOGETHER WITH TWO WATERCOLOURS OF MILITARY FIGURES. SIZES VARY (8)

AN INTERESTING GROUP OF 19th CENTURY BOTANICAL STUDIES BY M.A. PEAK, OF ALGERIAN WILD FLOWERS. UNIFORM GILT FRAMES

A contemporary framed Melissa Pluch botanical print, light shades, and two modern pink table lamp bases

BOTANICAL PRINTS, a pair, depicting a palm and a banana tree, each 88cm x 62cm. (2)

BOTANICAL PRINTS, a set of four, framed and glazed, 40cm x 29cm. (4)

A set of six Botanical flower prints, after Maunds Botanic Garden, each flower within a decorative border and coronet., 17cm x 13xm

Six hand coloured late 18th century botanical studies mounted, framed and glazed as one

A 19th Victorian Tunbridge ware micro mosaic tea caddy box. Intricately decorated with scenes of classical ruins and repeating botanical motifs. The domed top lid and sloped body opening to reveal a fully appointed interior. Measures approx. 15cm x 26cm x 16cm.

A 19th century Chinese black lacquer twin door cabinet. The cabinet having relief fielded panels with gilt decorated botanical, repeating key borders and central figures in landscape setting. The twin doors opening to reveal a further decorated interior with series of five drawers. Further decoration to the sides. Measures approx. 34cm x 31cm x 17cm.

An assortment of 19th century Chinese Oriental Qing Dynasty ceramic & porcelain items. The lot to include a Qing Dynasty prunus pattern baluster shaped vase with straight neck over a bulbous shaped body. The vase decorated with central vignettes depicting botanical subjects. Together with a pair of 19th century blue & white Chinese plates with foliate decorations and central bamboo depictions. Vase measuring approx. 36cm tall. 

A collection of antique china including Meissen cup and saucer with botanical pattern, Royal Crown Derby and Bloor Derby antique egg cups, 18th century sparrow-beak jug, Schoeleher cup etc.

A collection of various antique china including three Royal Worcester coffee cups cobalt and gilt decoration with import marks, Royal Worcester aquamarine cup and saucer with floral design, four Minton cups and saucers with botanical design along with a larger example, dressing table set with gilt decoration etc.

Japanese pottery moon flask decorated on one side with Octopus tightening bandana and two octopuses fighting, the other side with botanical studies, raised on four squat feet, 23.5cm tall. Good condition.  Some crazing to interior rim.  No visible  chips, cracks or restoration, pitted througout.

Yorkshire Maps, mainly West Riding of Sheffield, to include Ecclesall, Broomhall, Sharrow, Botanical Gardens - dates noted 1890, 1903, 1904, various scales, dirty and some tears (approximately 39).

John Pike Jones. 'A Botanical Tour Through Various Parts of the Counties of Devon and Cornwall'. By W. C. Pollard, North St, Exeter, first edition, 74 pages, original publishers boards with paper label to back strip, a very informative botanical work from early 19th century, a superb copy, printed for J. Treadwin, 217 High St, Exeter and G. and W. B. Whittaker , 13 Ave-Maria Lane, London, 1820.

A set of four late 18th/early 19th century handcoloured botanical woodcut prints, each framed. H.21 W.21cm. (each)

Sohrab Sepehri (Iran, 1928-1980)Untitled (From the Abstract Tree Series) oil on canvas, framedexecuted circa 1950's115 x 75cm (45 1/4 x 29 1/2in).Footnotes:Provenance:Property from a Swedish diplomatAcquired directly from the Artist by the above, Tehran, late 1950s/early 1960sThence by descent to present owner'I have never known two poplars to be enemiesI have never witnessed a willow selling its shade to the groundThe elm tree freely bestows its branch to the crow-and wherever there is a leaf- my passion blossoms likes a bush -bathing me in the joy of existence'- Sohrab SepehriIn its grace, naturalism, and sophistication, it is a work utterly faithful to the tenets of Sepehri's oeuvre; demonstrating an almost perfect confluence of Sepehri's strong representational impulse propelled by his love of nature and the more opaque abstraction inherited from the Eastern painting traditions he was so fluently versed in.Poet, artist and intellectual, Sepehri's mild manner and withdrawn persona belied the richness of expression manifest in his works. Enraptured by nature, Sepehri had a deep and profound attachment to the topography of his native Kashan, the 'oasis city' where trees and vegetation sprung amidst the arid desert. The genesis of all of Sepehri's work was firmly rooted in this landscape, and whilst he is sometimes miscategorised as an artist solely pre-occupied with nature, the fullness of Sepehri's veneration of nature finds as potent a fruition in his representation of the dwellings that inhabit it.Sepehri had a firm belief in the inherent grace and nobility of the nature he so admired. Inspired by Eastern traditions, with which he had direct contact during travels in India and Japan, Sepehri came to see the purity of the natural world as an antidote to the corruption of the human condition. Thus, when depicting human and architectural subject matters, Sepehri carried the tonal, textural and botanical qualities of nature into his compositions.This is a testament to the harmonious symbiosis between nature and civilization in the rural context; buildings composed of local materials in a vernacular architectural language are thoroughly embedded with their landscape, they do not dominate or seek to conquer and subjugate in the manner of the dehumanizing urban sprawl Sepehri so dreaded when he exclaimed his 'fear of cities where the black earth is pasture to cranes'.Stylistically, the present work is a scintillating example of the very palpable sense of tension between naturalism and abstraction manifest in Sepehri's work. Sepehri was conceptually engaged by the universality of Zen painting, its advocacy of tonal minimalism, and its shedding of excess and detail in favour of exploring true meaning through a process of efficient meditative brushstrokes, however this was heavily tempered by his desire not to forsake the identity of his surroundings, ultimately, his attachment and love for his native home would never grant abstraction a total victory, and it is in this tension, that artistic sincerity is most deeply revealed.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

1964-69 collection in album incl. fine 1964 Geographical, Botanical & FRB, etc. (33 packs)

With an 80cm blade, the tang inscribed 'Sa Yukihide saku kore (made this) Kaei 6th year (1853). With a horimo of a prunus branch to one side and bamboo to the other, with hamon visible along much of the length,. Tsuka and saya covered in samegawa. With full length copper fukurin embellished with repoussé scale decoration. Silvered fittings with gilt accents cast in heavy relief with cherry blossom and other botanical themes and crouching samurai. Leather obitori with nanatsu-gane. 106cm overall. Ref: Yukihide of Chikuzen and Tosa, Hawley YUK 33. Hawley's Japanese Swordsmiths. Koan Nagayama, The Connoisseurs Book of Japanese Swords page 282 and 184. Sold not subject to return *Condition: Half of decorative bolt retaining the handle lacking. Sold not subject to return.

A Victorian porcelain botanical painted dessert service comprising four tazzas and fifteen plates Condition Report:Available upon request

Collection of ephemera, to include gold mining and similar share certificates, various pencil drawings botanical, animals, still life pastels of fruit etc. (B.P. 21% + VAT)