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Lot 876
Fullt title: Emil Bretschneider (1833 Ð 1901): Map of China and the surrounding regions, second edition, Edward Stanford Ltd., London, 1900Description: Dim.: 79,5 x 69 cm (the map)Dim.: 18 x 12,5 cm (the cover, size when folded) An interesting map of China 'to illustrate the author's botanical discoveries in China'.With a label to the bottom right reading: Edward Stanford - 26 and 27 Cockspur St., Charing Cross, S.W.- Geographer to the Queen.
Lot 427
TWO BOXES AND LOOSE SCIENTIFIC EQUIPMENT ETC, to include a Duorider balance scale in a wood and glass case, a White Electrical Instrument Company variable range meter, cased / boxed sets of approximately 150 prepared microscope slides, to include human, insect and botanical etc, assorted glass and copper flasks and storage bottles etc
Lot 1030
Two Royal Copenhagen Flora Danica dinner plates C:1950's, each with a gilded rim, centered by a botanical specimen, identified in Latin to the underside, retains printed factory mark, underglaze blue wave mark and numbered (2), diameter 25.50 cm.Condition: One has small restored area to rim, the other tiny chip to golden point.
Lot 1083
Four Royal Copenhagen Flora Danica side plates C:1950's, each with a gilded rim, centered by a botanical specimen, identified in Latin to the underside, retains printed factory mark, underglaze blue wave mark and numbered (4), diameter 19.50 cm. All in good condition, except on that has a tiny back chip one point.
Lot 41
A Victorian china dessert service of scalloped design including two rectangular shaped serving dishes, one restored and badly cracked, a pair of oval standing fruit dishes, one riveted and repaired and cracked, a comport and seven dessert plates, one with hairline crack, another with a crack to base, all individually handpainted with botanical studies including roses, pansy's, chrysanthemums etc, some signs of wear and rubbing to gilding, comport of slightly different design, (plates :- d 24cm, oval shaped serving dishes 32cm, fruit plate 30cm)
Lot 32
Antonio Martínez Royal Silver Factory. With marks, Martínez, Madrid Villa y Corte, 1838. Measurements: 28 x 28 x 19 cm. Weight: 1,455 g. Large incense burner in the shape of a turkey with the tail open in a fan.Made of embossed, cast and chiselled silver.The body is hinged and opens in the middle, inside there is a bowl for burning fragrant substances.The turkey rests on an oval tray with a railing, to catch the ashes that fall from the embers.Magnificent specimen that displays the mastery of the silversmith, as befits the Martínez silverware workshop. The Prado Museum, the National Museum of Decorative Arts in Madrid, and the National Museum of Romanticism, among others, have pieces from the workshop among their collections.As we read in the Catalogue of the exhibition "Lo Exquisito. Artes suntuarias del siglo XVIII del Museo de Historia" (The Exquisite. Sumptuary Arts of the 18th Century in the Museum of History): "In 1778, Antonio Martínez created a Silverware School-Workshop in Madrid, with models and machinery purchased in Paris and London during his study trip which was funded by royal patronage. After working from several locations, he finally settled on the neoclassical building on Paseo del Prado, opposite the Botanical Garden, and abandoned hand-crafted production for industrial production, which would allow them to lower the prices of their products, and therefore make them more affordable to the new bourgeoisie.The School acquired the title of Royal Factory and Fernando VII maintained activity there after the death of Martínez in 1798. The Factory stopped producing in 1869 and the building was demolished in 1920."
Lot 54
WITHERING WILLIAM. A Botanical Arrangement of All the Vegetables Naturally Growing in Great Britain With Descriptions of the Genre & Species. 2 vols. 12 fldg. & other eng. plates as called for. Rebound qtr. calf, some internal browning & foxing. 1776. The first ed. of the first Flora of Great Britain to use the Linaean system.
Lot 843
A large collection of Portmeirion The Botanical Garden wares. Comprising: Teapot and cover, coffee pot and cover, milk jug, sugar bowl and cover, twelve coffee cans, twelve saucers, five side plates, eleven dinner plates, four bowls, a two-tier cake stand, sandwich plate, oversized teacup and saucer, three various jugs, fruit bowl, three canisters with wood lids, two sauce jugs and stands, five pots in sizes, four ramekins, two sweet dishes, two salts, cheese cloche, three small vases, two lidded pots, two salt shakers, pepper pot, novelty chamber pot, pie dish, heart shaped dish, twin handled rectangular dish, six napkin rings, coaster, grip juicer, circular tray, oval handled platter, oval handled bowl, spoon tray shaped as a teapot, pair of candle holders, four candles, dish and a bowl.
Lot 10
Inspired by the Cornish coast, this stunning wall art feature of 6 fused glass 12 inch fish including fixings is provided by courtesy of handmade glass designer Jo Downs. Working from her Cornish design studio and showrooms Jo's work draws on the rugged Cornish coastal landscape for inspiration, whilst advanced fusion production techniques allow creation of complex and abstract designs, each piece individual from another. With a BA Hons in glass and ceramics design and subsequent placements with established artists in the field such as Mike Davies, Galia Amsel and Rebecca Newnham, 1996 saw the opening of Jo Downs glass workshop in Muswell Hill. Introducing a popular range of handmade giftware and commissions, the range quickly expanded to wall panels and frames, joined a little later by large architectural and interiors projects, including cruise liners, churches, hotels including Forte and Hilton, as well as corporate buildings and projects including windows and mirrors for private homes commissions. Further techiques were developed whilst guest artist at Stuttgart Art Academy working alongside Professor Hewel. Further commissions for Edinburgh and Munich Hilton joined others prior to relocation to premises in Launceston in Cornwall. Jo Downs work can be acquired at The Royal Botanical Gardens at Kew, Hills House and British Maritime Museum, as well as National Trust, John Lewis and a variety of other galleries and retailers, including Jo Downs own locations in Launceston, Padstow, St Ives, Fowey and Tintagel in Cornwall, as well as Sunningdale in The Royal Borough of Windsor and Maidenhead in Berkshire.
Lot 17
Inspired by the Cornish coast, this striking Gwithian 9.25 inch fused glass dish is provided by courtesy of handmade glass designer Jo Downs. Working from her Cornish design studio and showrooms Jo's work draws on the rugged Cornish coastal landscape for inspiration, whilst advanced fusion production techniques allow creation of complex and abstract designs, each piece individual from another. With a BA Hons in glass and ceramics design and subsequent placements with established artists in the field such as Mike Davies, Galia Amsel and Rebecca Newnham, 1996 saw the opening of Jo Downs glass workshop in Muswell Hill. Introducing a popular range of handmade giftware and commissions, the range quickly expanded to wall panels and frames, joined a little later by large architectural and interiors projects, including cruise liners, churches, hotels including Forte and Hilton, as well as corporate buildings and projects including windows and mirrors for private homes commissions. Further techiques were developed whilst guest artist at Stuttgart Art Academy working alongside Professor Hewel. Further commissions for Edinburgh and Munich Hilton joined others prior to relocation to premises in Launceston in Cornwall. Jo Downs work can be acquired at The Royal Botanical Gardens at Kew, Hills House and British Maritime Museum, as well as National Trust, John Lewis and a variety of other galleries and retailers, including Jo Downs own locations in Launceston, Padstow, St Ives, Fowey and Tintagel in Cornwall, as well as Sunningdale in The Royal Borough of Windsor and Maidenhead in Berkshire.
Lot 4
Standing at an impressive 22cm in height and inspired by the Cornish coast, this striking fold design fused glass vase is provided by courtesy of handmade glass designer Jo Downs. Working from her Cornish design studio and showrooms Jo's work draws on the rugged Cornish coastal landscape for inspiration, whilst advanced fusion production techniques allow creation of complex and abstract designs, each piece individual from another. With a BA Hons in glass and ceramics design and subsequent placements with established artists in the field such as Mike Davies, Galia Amsel and Rebecca Newnham, 1996 saw the opening of Jo Downs glass workshop in Muswell Hill. Introducing a popular range of handmade giftware and commissions, the range quickly expanded to wall panels and frames, joined a little later by large architectural and interiors projects, including cruise liners, churches, hotels including Forte and Hilton, as well as corporate buildings and projects including windows and mirrors for private homes commissions. Further techiques were developed whilst guest artist at Stuttgart Art Academy working alongside Professor Hewel. Further commissions for Edinburgh and Munich Hilton joined others prior to relocation to premises in Launceston in Cornwall. Jo Downs work can be acquired at The Royal Botanical Gardens at Kew, Hills House and British Maritime Museum, as well as National Trust, John Lewis and a variety of other galleries and retailers, including Jo Downs own locations in Launceston, Padstow, St Ives, Fowey and Tintagel in Cornwall, as well as Sunningdale in The Royal Borough of Windsor and Maidenhead in Berkshire.
Lot 492
The 2009 UK Brilliant Uncirculated Coin Collection, 11 coins from £2 to 1p, including commemorative issue 'Kew Gardens' 50p 2009, struck for the 250th Anniversary of the foundation of the Royal Botanical Gardens at Kew, obv. Clark portrait of the Queen, rev. iconic design by Christopher Le Brun featuring the pagoda at Kew encircled by vines, the dates 1759 and 2009 to left and right respectively, 2 x £2 'Robert Burns' and 'Charles Darwin', and standard issue £2, £1, 50p, 20p, 10p, 5p, 2p, and 1p, in Royal Mint packet, BU.
Lot 22
Curtis (William). The Botanical Magazine or Flower-Garden Displayed, volumes 9 & 10 (bound as one) 1795 - 96, 72 engraved plates with contemporary hand-colouring, each with a page of descriptive text, occasional spotting, a few plates with repaired closed tears, later endpapers, ex-library with the usual stamps and abrasion, but not affecting the text or plates, modern half morocco gilt, 8vo, together with Sherwood, Neely & Jones (publishers). General Indexes to the Plants Contained in the first Forty-Two Volumes of the Botanical Magazine, printed by Stephen Couchman, 1816, engraved portrait frontispiece of William Curtis, printed title, preface, explanation and indices, publisher's paper wrappers with additional title to the upper cover, later endpapers and utilitarian boards with old library stamps to the front pastedown and rear of the upper paper wrapper, slim 8voQTY: (2)
Lot 25
Maund (Benjamin). The Botanic Garden or Magazine of Hardy Flower Plants, 55 parts, numbers 133, 135 - 137, 139 - 140, 142 - 146, 148 - 156 [and] 158 - 192, 1836 - 40, containing 50 (only) engraved botanical plates with bright contemporary hand-colouring, bound with explanatory text, two plates excised and trimmed to the image, publisher's printed paper wrappers, 8voQTY: (55)NOTE:Sold as a collection of prints, not subject to return.
Lot 68
* Botanical Watercolours. Cypripedium Veitchii, Dendrobium Formosum, Zygopetalum Maxillaria, & Dendrobium Brymerianum 1879-87, together 4 original watercolours on buff or pale brown wove paper, each signed with initials E.W.P., and inscribed 'Cypripedium Veitchii, Aug. 6 1879', 'Dendrobium Hormosum, Dec 1881', 'Zygopetalum Maxillaria, Aug. 1883', & 'Dendrobium Brymerianum, March 27 1887', each approximately 365 x 265 mm, uniformly mounted, framed and glazedQTY: (4)
Lot 123
Emily Stackhouse - Botanical Studies, a large collection of approximately 300 watercolour over pencil studies on paper, most examples are inscribed with English and Latin names to the front, some with location and month detailed, with Linnean taxonomy details and stamped with mimeograph signature verso, the majority of sheet sizes 26.5cm x 21cm, within six modern folders, the first folder with three index sheets. Note: Emily Stackhouse (1811-1870) was a 19th century British botanical artist and plant collector. She collected and painted flowers and mosses throughout the British Isles, and her work was widely reproduced in a series of popular books issued by the Society for Promoting Christian Knowledge. Many of her watercolours indicate that she had collected and depicted specific plants years earlier than their accredited discovery in Cornwall, and it is now acknowledged that she collected and classified nearly all the British mosses.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 59
Signed 'Elizabeth Gardner' bottom right, oil on canvas39 1/2 x 29 1/4 in. (77.5 x 74.3cm)Executed in 1888.ProvenancePrivate Collection, North Carolina.Exhibited"Salon de 1888," Palais des Champs-Élysées, Paris, 1888, no. 1071. "North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 23.LiteratureExplication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants Exposés au Palais des Champs-Élysées le 1er Mai 1888, Paul Dupont, Paris, 1888 (second edition), p. 87, no. 1071 (listed, not illustrated).Norma Broude and Mary D. Garrard, The Expanding Discourse: Feminism and art History, IconEditions, New York, 1992, no. 8 (illustrated).Tamar Garb, Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris, Yale University Press, New Heaven, 1994, p. 157, no. 62.Charles Pearo, Elizabeth Jane Gardner: Her Life, Her Work, Her Letters, MA Thesis, McGill University, 1997, p. 9, fig. 16 (illustrated).NoteElizabeth Jane Gardner Bouguerau was one of the most famous and successful American artists in Paris at the end of the 19th century. Dubbed an honorary French woman through her marriage to William Bouguereau, she was one of the first expatriates to be exposed to the male-dominated Parisian art market, which she learned to infiltrate and eventually master throughout her impressive fifty-eight-year career in the French capital city.Born in Exeter, New Hampshire into a family of merchants, Gardner graduated from the Lasell Seminary (now Lasell University) in Auburndale, Massachusetts in 1856. At first a French teacher, she sailed for France in the summer of 1864 along with a former teacher of hers, Imogene Robinson, and the two settled in a studio 2, rue Carnot, across the street from the highly revered and successful painter, William Bouguereau.Contrary to another famous American expatriate who arrived in Paris two years after her, Mary Cassatt, Elizabeth Gardner could not count on any financial aid from her family, and therefore did not receive private tutoring from eminent masters. Instead, she trained and made a living by copying Old Masters at the Musée du Louvre, as well as the more contemporary artists in the nearby Musée du Luxembourg. She would then sell her work to American collectors travelling through Europe, recommended to her by her own family. Yearning life-drawing classes, but denied the access to them because of her gender, Gardner joined a collective studio of women, where she studied anatomy among her peers during evening sessions. In parallel, and at the recommendation of her friend Rosa Bonheur, a true “sister of the brush and long-time career counselor” according to Charles Pearo, Gardner also joined a sketching class at the Jardin des Plantes, Paris’ Botanical Gardens and Zoo, where she painted living animals alongside the animal sculptor Antoine Barye. There, she met the famous painter Hugues Merle, who would invite her to join his studio and acted as a constant support throughout Gardner’s life, even when she decided to rally the studio of Bouguereau, Merle’s longtime rival.The life of Elizabeth Gardner is marked by a strong desire to fit in. As an American woman from the low middle-class with an everlasting sense of duty and even guilt for leaving her country, Gardner could not afford to experiment with modern trends and embrace a radical career in the form of Impressionism. Instead, she had to study the rules set by the Institution and learn to respect them to blend and succeed in a very competitive milieu. This explains the artist’s polished, impeccable style, the true expression of French Academism adopted by many other American expatriates at the time, and her association with France’s ultimate forum and official place of recognition: the Salon. Gardner participated in thirty Salons, showing thirty-six of her works between 1868 (her first try, marked by two entries) and 1914, the apex of her participations being in 1887, the year she received a bronze medal for La Fille du Jardinier, thus becoming the only American woman to ever receive a medal.The present, rediscovered work follows this immense success. Set against a homey kitchen interior marked by several utensils and a slowly burning fire, a young mother sits lovingly behind her toddler child. Next to her, in a cradle, sleeps her youngest. Playfully, she watches a family of chickens eating at her feet, thus creating a tender echo between her and the mother hen with her chicklets. The work bears close resemblance to the style of William Bouguereau, champion of the Art Pompier, and whom Gardner never felt embarrassed to channel as she proudly explained to an interviewer in 1910: “I would rather be known as the best imitator of Bouguereau than be nobody.” At the time, views of idealized peasantry untouched by modern life were popular among Victorian collectors. As Bouguereau was facing an impressive number of requests of that nature (having started the trend himself), Gardner must have understood the benefits, both academic and financial, to work within this niche market and emulate her famous master’s style to satisfy a hungry crowd. Here Gardner adopts a smooth brushwork, she creates solid lines heightened by soft glazes and soft colors. She frames her subjects in a way that makes them seem monumental and ennobling. Just like Bouguereau, she pays great attention to the rendering of the hands and feet, and depicts her peasant woman barefoot, a characteristic of the romanticized view of French peasantry outside of urban areas, and which American collectors were particularly fond of.Despite the use of certain iconographic formulas however, one notes certain particularities that make the composition truly special, and which highlight Gardner’s very own artistic gifts. Contrary to Bouguereau’s figures, which are purposefully more static, Gardener’s mother and child interact with one another. They cuddle, and as such imply an inward movement which accentuates the intimacy of the moment. None of them are looking at us. On the contrary, they are so caught in the moment and display such a strong and natural bond that neither the artist nor the viewer can interrupt it. This feeling of a warm and pure love is further enhanced by the presence of the chickens. Traditionally seen as an element of femininity, they appear regularly in Gardner’s work, unlike Bouguereau’s (see for example La Fille du Jardinier -1887, Dans le Bois -1889, or La Captive -1883). The artist was fond of birds and owned herself an aviary of about 30 poultry in her studio.Such iconography appealed to her prude, mostly feminine clientele. It also helped strengthen the moral undertones of family love and accentuate the irreplaceable nature of the mother figure in the patriarchal society. In this regard, the piece can be seen as a modern, secular version of a Madonna and Child.
Lot 1040
Antiquarian and Later Books. 5 shelves, including Hulme's Familiar Wild Flowers, Series 1-4, London: Cassell, n.d., colour botanical plates, contemporary quarter-calf, rubbed and worn, 8vo, ornithology and further natural history, Walton's Complete Angler, fourth edition thus, London: D. Bogue, 1844, contemporary quarter-calf over marbled boards, rubbed and worn, 8vo, further fishing and angling, Dickens, police and crime, encyclopedias, decorative cloth bindings, etc.
Lot 100
12 MIXED BOTTLES SPIRITS AND LIQUEURSMitosaya Botanical Distillery Awa Biwa (50cl); Marks + Spencer Gold Blond Chocolate Flavour Cream Liqueur; Hinanska Jujube Hand Crafted; Queen Margot 2 x Cream Liqueur; Wolf Lane Distillery The Barista Coffee Liqueur (50cl); Mazzetti d'Altavilla Amaro Gentile Mazzetti; Tesco Peach Schnapps; Amarangela; Southern Comfort; Pallini Sambuca 313; Old Sailor Rum Coffee Liqueur
Lot 105
12 BOTTLES LONDON DRY GINHarrison Handcrafted; Beinn An Tuirc Tarbert Legbiter Navy Strength (50cl); Lyden Distillery Organic Small Batch (50cl); Cruxland Kalahari Truffles (50cl); Edinburgh Gin Classic; Del Rey Distillery; GinBey; Boyle's Gin Small Batch Irish Botanical; Wolfe Bros; Scapegrace Premium Small Batch; Otterback Distillery Cotton Gin; Kalki Moon Classic Small Batch
Lot 124
12 BOTTLES GINStill Life Gin Exposure; Hedonist Chef Pero Adriatic Dry (50cl); G+Tea 80 Days (50cl); Junimperium Estonian Artisan; Spitzmund New Western Dry (50cl); Es Kann Nur Gypsy Gin (50cl); Rosemullion Distillery Pure Cornish Dry; Misty Isle Small Batch Premium; Amber Ches Spirits Botanical; LIttle Juniper Distilling Signature Organic; Willing Distillery Sweetheart's Navy Strength; Banks + Solander
Lot 469
THIRTY ONE FRAMED CONTEMPORARY WATERCOLOUR PICTURES, comprising of twenty six by Burton Upon Trent artist Jo Smyth, subjects are botanical flower studies. still life fruit studies and details of buildings, together with a Bob Bradshaw Jurassic Coast landscape, Brian Belcher continental vineyard scene with dwellings beyond, D. Osbourne Hughes landscape featuring a tree, signed under the mount, a continental scene signed Brian and a woodland landscape with Marjorie Briggs label verso and an oil on canvas river landscape signed Cafieri, largest size including frame 58cm x 58cm (2 boxes and loose)
Lot 478
A BOX OF PAINTINGS AND PRINTS ETC, to include an unsigned oil on board portrait of a female figure, approximate size 40cm x 30cm, an Ann Macdonald acrylic on board depicting poppy seed heads in a natural setting, initialled and dated 2005, approximate size 25cm x 25cm, topographical prints depicting scenes of Birmingham and the Black Country, Redoute botanical study prints, a pencil and watercolour wash depiction of various botanical specimens signed Audrey Ranson etc
Lot 479
A QUANTITY OF FRAMED PRINTS ETC, to include a Brian Eden signed landscape print, approximate size including frame 58cm x 72cm, a Rex Preston landscape print, pastel landscape by Brian Monk, prints by Claude Monet, five botanical study prints by John Wilkinson, oil on canvas water landscape signed C. Alain, oil on canvas coastal landscape indistinctly signed, two metal poppy wall art sculptures - one boxed, together with other assorted prints etc (2 boxes and loose)
Lot 12
Handmade Silk Scarf (Cosmos) Inspired by Nature Marian’s silk scarves are silk crepe de chine, botanically printed with leaves and flowers from her local environment, and dyed with natural dyes so each one is entirely unique. Inspired by the natural forms and beauty in her surroundings in Southwold, Suffolk, Marian has been exploring ways to share her love of the natural world through textiles. She expresses her inspiration in handmade fine felt and more recently discovered botanical printing. Many leaves and flowers contain natural colours and these can be transferred onto fabrics such as silk and vintage linens using steam. She also teaches workshops in both felt making and botanical printing in Suffolk, Norfolk and Cumbria. https://www.marianmaytextileart.co.uk/
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