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A Royal Worcester tea pot, circa 1900, standing 9.25"H. This elegant piece features intricate hand-painted botanical motifs and geometric designs in gold against a cream background. The unique squared design is complemented by a richly gilded handle and lid, adding a touch of luxury. The tea pot bears the Royal Worcester backstamp, confirming its authenticity. A fine example of late 19th to early 20th-century English craftsmanship, perfect for collectors or as a decorative statement.Dimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.

Antique pressed botanical book titled Flowers of the Holy Land, crafted in Jerusalem. The book contains a collection of dried flowers and plants, carefully arranged and preserved, with captions in multiple languages, including German, English, and French. The cover is made of intricately grained olive wood with an inlaid border and bears the inscription Jerusalem. This type of book was a popular souvenir from the Holy Land in the late 19th and early 20th centuries. The interior features delicate tissue overlays protecting the botanical specimens. Shows signs of age-related wear, particularly along the spine, with some separation and repairs. A rare and historically significant piece reflecting the craftsmanship and devotional culture of the region.Issued: 20th centuryDimensions: 6.5"L x 4.25"HCondition: Age related wear.

This exquisite antique hand-painted porcelain plaque features a delicate depiction of soft pink roses, signed by artist M. Wood. The artist's refined brushwork highlights the naturalistic details of the petals and leaves, offering a timeless representation of botanical art. Encased in an ornate gilt frame with intricate scrollwork, the plaque exudes elegance and sophistication, perfect for Victorian or traditional decor. The artwork is set behind a convex glass cover, preserving its original charm and craftsmanship.Artist: M. WoodDimensions: 14"L x 17"HCondition: Age related wear.

A circa 1880 Royal Worcester hand painted porcelain plate having a botanical scene to the centre with a pink border, marks to the underside, diameter 23cm.

Radley. A group of three large canvas tote bags in 'Botanical Floral Wreath, Merlot' and ' Cannon Street' in both 'Fuschia' and 'Blush', together with two Slim Fold Away Umbrellas in 'Aura' and 'Rhubarb' . Items within original packaging and tags . (5)

Konvolut Landschaftsgärtnerei, 5 Bücher, bestehend aus "E. Pfyffer von Altishofen: Der kleine Villengarten", Gartenbau-Bibliothek Band 20, Berlin 1900, 80 Seiten, Maße ca. 18,5x13cm, Einband leicht beschädigt, einzelne Seiten leicht fleckig, "M. Bertram: Gärtnerisches Planzeichnen", 39 Planzeichnungen von M. Bertram, Verlag Paul Parey Berlin, sowie ein „Situationsplan zu Nr. IX 129 der Großen allgemeinen Frühjahrsausstellung des Provinzial- Gartenbauvereins-Hannover 13.-16. April 1893“, einem Plan „Park Rothschild zu Pregny bei Genf“ von Max Kitt und „Plan der Gärtnerei des Pavillon de Pregny“ von Max Kitt gezeichnet „Dez. 1903“, Maße ca. 41x31,5cm, teilweise fleckig, stellenweise gerissen, "Gartenschönheit, eine Zeitschrift mit Bildern", herausgegeben von Oskar Kühl, Berlin 1921, Maße ca. 36x26cm, Einband beschädigt, Faksimile „P.J. Redouté, Faksimile-Drucke nach größtenteils unveröffentlichten Originalbildern von Pierre-Joseph Redouté aus der Sammlung des Hunt Institute for Botanical Documentation in Pittsburgh, Pennsylvania, umfassend 19 Aquarelle nach Originalvorlagen ab Pergament - davon 18 handsigniert - und 17 Skizzen (Aquarelle, Bleistift- und Tusch-Zeichnungen)“, mit drei Textbeiträgen, herausgegeben von der Gesellschaft Schweizer Rosenfreunde, Rapperswil 1971, lose in originaler Halbpergamentmappe mit goldgeprägtem Deckeltitel, Maße ca. 52,5x39,5cm, Fleck auf dem Einband, Faksimile "Hermann von Pückler-Muskau: Andeutungen über Landschaftsgärtnerei. Verbunden mit der Beschreibung ihrer praktischen Anwendung in Muskau", herausgegeben von Harri Günther, Leipzig 1986, bestehend aus Nachdruck der Pückler-Muskau'schen Schrift aus dem Jahr 1834 sowie begleitendem Kommentarband mit Kommentaren von Anne Schäfer und Steffi Wendel, 45 lose Folio-Farbtafeln und 4 Faltpläne, in originaler Leinenkassette mit Deckelschild, Maße ca. 51,5x35,5x6cm

A circa 1900 mahogany collectors specimen cabinet, having a glazed door concealing 21 numbered drawers, each containing microscope botanical specimen slides to include algae, fungi and insects etc, the slides largely being annotated, w.26cmHeight 31cm (handle down).

Annie Wilkins (British, 19th century), Group of 22 assorted graphite on paper studies including landscapes, architectural and botanical studies (3 hand coloured). Many signed and dated in pencil, varying dimensions, unframed.

GREAT BRITAIN GB presentation pack mint stamp collection spanning 1964-1977 held in a Stanley Gibbons brown leatherette covered ring binder album including 1964 Forth Road Bridge, 20th International Geographical Congress, 10t International Botanical Congress, World Cup 1966, etc. (72 packs)

American natural history & botany. 1785-86 Dreyhundert Auserlefane Amerikanische Gemachte nach Linneischer Ordnung. Des ersten Hunderts, erste Halfte. Printed Nuremberg, auf Rosten der Raspiche Buchhandlung. Two volumes of the original six, bound as one. Being Zorn, Johan:- Three Hundred Selected American Plants according to the Linnaean Order. After Selectarum Stirpium Americanarum Historia, the work by Nikolaus Joseph von Jacquin on his botanical discoveries in the New World. Illustrated with one hundred hand coloured plates depicting various flowers, seeds & plants. Contemp. full calf, spine worn & split, front board loosening, loss to the head & tail of the spine, extremities bumped, spine label lacking, armorial bookplate of Baron Dimsdale to front pastedown, title page & preliminaries spotted. A very scarce collection of botanical illustrations by Zorn, depicting the plants discovered by Jacquin in the Americas. 8vo.

PORTMEIRION BOTANICAL GARDENS 3 SERVING BOWLS, 2 JUGS ( CREAM & MILK ) 1 GRAVY JUG & SAUCER

PORTMEIRION BOTANICAL GARDENS 2 SALAD BOWLS, CHEESE DOME, BUTTER DISH, DRUM SHAPED TEAPOT

A stunning art glass vase featuring a rich ruby-red overlay with intricate floral and botanical engravings. The design incorporates alternating panels of clear glass and etched red, creating a striking visual contrast. The vase showcases fine craftsmanship, with delicate hand-etched patterns and a polished pontil on the base. Measuring 9 inches in height, this decorative piece is an excellent example of traditional glassmaking artistry. The exact maker is unidentified, adding an air of mystery to its origins. Perfect for display or as part of a curated collection.Issued: 20th centuryDimensions: 9"HCondition: Age related wear.

A watercolour still life of roses and various prints of botanical subjects etc. (qty)

Quantity of botanical studies, chromolithographic prints from various publications, 26cm x 17.5cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).

A Georgian cased field botanical microscope in fitted leather and silk lined case

Stan Jones( Stanley Joseph Owen Jones,Welsh 1930-2012) Group of unframed watercolours to include: botanical studies, abstract study and screen print. (6) Charity Sale. (B.P. 21% + VAT)

Arthur Giardelli (Vincent Charles Arthur Giardelli, 1911-2009, MBE, Member of the 56 Group of Artists in Wales), botanical study of Croci, signed with monogram. Watercolours. 14.5x20cm approx. (B.P. 21% + VAT)

A Chamberlains Worcester curved serving dish, boldly painted with botanical study, Red Blue Ixia, gilt rim, 30.5cm wide, painted script mark, c.1820

Two boxes of various Royal Worcester Evesham pattern dinner wares including various tureens and covers, aux d'oeuvres dish, flan dish, jugs etc together with a Wade gilt decorated part coffee set, a Continental ten piece blue banded dessert service decorated with botanical studies, seven plates and three tazzas

Royal Copenhagen Flora Danica porcelain plate, 20th century, decorated in the botanical 'Potentilla Supina' pattern, W22.5cm.

20thC School. A group of botanical related works, in pastel, watercolour, etc.

A group of stoneware, to include a flagon for John Brown and Co Old Moot Hall Birmingham, numbered 726, with a cork stopper, 35cm high, and another for R Massey, Botanical Brewer, Whitwick, 17cm high, together with a jelly mould and a studio pottery dish.

20thC School. A group of botanical related works, to include collage, etc.

20thC School. Three botanical related works, oil on board, the largest 107cm x 86cm.

An oak three drawer partial plan chest, each drawer containing botanical related artist's prints, watercolours, etc., 40cm high, 150cm wide, 94cm deep, the chest cut down.

20thC School. Various botanical related works, predominantly watercolours.

Amy Reeve-Fowkes, watercolour, botanical study, signed, 39 x 51cm, gilt framed, together with another watercolour by the same artist, 30 x 45cm, framed

Art Nouveau Vase with DragonfliesIn marbled glass, with gilt metal mountsBody in amber and black glass, with spiral patternMetal mounting with gilt metal lid and base, decorated with botanical elements and dragonfly-shaped side applicationsPossibly WMF, early 20th century(metal mounts with later gilt coating)

"Fan" fireplace screenIn gilt bronzeWith pierced, relief and openwork decoration depicting botanical and geometric motifsMarked with initials "GT"France, 19th century(signs of wear)55.5×82.5 cm (open)

19th Century Bloor Derby (1830-48) part service having gilt scalloped rims, painted botanical studies within lime green borders, comprising of three oval comports, three cake plates, eleven dishes, and a side plate. (11)

A good collection of mostly named ceramics to include Royal Doulton Sairey Gamp, Mella Ware Henry the Eighth jug, Lladro rabbit, Portmerion botanical, Wedgwood jasperware, Doulton Lambeth stoneware salt glazed jug, McVitie & Price crane tin, etc.

TWO BOXES AND LOOSE MISCELLANEOUS ITEMS, to include assorted vintage doilies, five decks of cards, a box of chess pieces, various plated table ware items to include sauce boats, a jug, a fish knife and fork, two botanical box prints, cookbooks, a cased Riley snooker cue (2 boxes and loose) (s.d)

A BOTANICAL PRINT ON CANVAS. framed, 120cm H x 100cm W.

A 19TH CENTURY DUTCH BOTANICAL PRINT - CHRISTMAS STAR Titled, 'Poinsettia Pulcherrima. grah.', chromolithograph by Berthe Hoola van Nooten, 1863, framed 50 x 37cm Ownership Statement: This item is offered for sale in the name of the owner, Sake Santema. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

An early 19th century English porcelain cabinet plate, polychrome enamel decorated with floral sprays within cobalt gilt and blue borders, indistinctly marked, dia.21.5cm; together with a pair of early 19th century English porcelain sauce tureen stands, each decorated with floral sprays within gilt and cobalt blue borders, w.26cm; an early 19th century Derby porcelain saucer dish, dia.19.5cm; and a pair of Ridgeway porcelain botanical plates, each annotated verso and numbered 805 in puce, dia.20.5cm (6)Cabinet plate - no chips, cracks or repairs. Some wear to gilt decoration.Tureen stands - crazed. No cracks or repairs, small chip on edge of handle to one. Some wear to gilt decoration of both.Derby saucer dish - crazed. No cracks, chips or repair. Some wear to gilt decoration.Botanical plates - no cracks, chips, or repairs. Some wear to gilt decoration.

Portmeirion ware The Botanical Gardens together with Worcester Evesham pattern and Denby Stoneware

Framed botanical watercolour together with 'October Evening' both by Alice Barnwell

John Morrison (1782-1853) 19th century Georgian watercolours of Botanical flower species.

FIVE EARLY-MID 20TH CENTURY JAPANESE BOTANICAL WATERCOLOURS. Watercolour and gouache on paper, each depicting a flower spray, one with a leaping frog and one with an insect, each mounted, unframed, approx. 24.5cm x 17cm Overall in good order, each with some very minor discolouration to paper and mount. Fixed to mount.

Two hand coloured botanical prints from the Floricultural Cabinet, c.1840 - late 20th century painted frames, 49.5 x 40.5cm overall.

Weronika Anna Rosa White Lily, 2024 Gouache and pencil on cotton paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About WERONIKA ANNA ROSA (b. 1990 in Warsaw, Poland) - visual artist, painter and designer, since 2016 based in Lisbon, Portugal. Rosa grew up in a family involved in arts and natural sciences. These two distant, but strongly complementary worlds, constitute the pillar of her visual sensibility and sculpted her curiosity. Plants play a vital role in her work - they are not only subjects, but also a vehicle of meanings and emotions. Rosa uses botanical iconography to explore relations between plants and humans; botany and its connection with current socio-cultural and environmental factors. The artist captures the ephemeral matter of nature, looking into its strength and fragility, imperfections and beauty. Starting from a careful observation of plants, through botanical studies and realism, she abstractly scales the subject, bringing it closer to the size of a human body. Rosa intends to express the identity of plants by observing their essence, and by analysing their history and role in our culture. This naturalistic representation becomes a universal and metaphorical language. Rosa experiments with various artistic techniques and media to obtain diverse textures, scales and volumes, in a way to reach the observer on different sensory levels. Education 2019 Botany and Art, course at FCSH, Universidade Nova, Lisbon, Portugal 2016-2017 Bachelor's degree in Ceramics, Faculty of Fine Arts, University of Lisbon, Portugal 2015-2017 Master's degree in History of Art, Faculty of Arts, University of Lisbon, Portugal / University of Warsaw, Poland 2011-2015 Bachelor's degree in History of Art, University of Warsaw, Poland 2010 Drawing of Nature, course at the Natural History Museum of Marseille, France Solo Exhibitions 2025 Vestígios de Memórias, National Museum of Natural History and Science, Lisbon, Portugal (TBC), Cliché Gallery, Warsaw, Poland 2023 Natura Ludzka, Galeria Prześwit, Warsaw, Poland 2021 In search of Beauty, Minds&More, Lisbon, Portugal 2020 Fabric - The Master's Material (Tkanina - Materia Mistrza), Galeria Nizio, Warsaw, Poland 2019 (In)Visivel, Espaço Santa Catharina - ESC, Lisbon, Portugal 2018 Vivace, Galerie La Canopée, Lisbon, Portugal 2017 Secret Garden's Metamorphosis, Transept, Lisbon, Portugal Group Exhibitions 2024 Warsaw Art Fair (represented by Cliché Gallery), Warsaw, Poland Souvenirs from faraway places, I have never been, Ethical Assembly, Lisbon, Portugal Lisbon Design Week, Artlier, Lisbon, Portugal 2023 Planatae, annual exhibition of the Society of Botanical Artists, Mall Galleries, London, United Kingdom 2020 Gardens, Analora, Lisbon, Portugal Awards 2025 International Design Pool, artistic residency organised by Vista Alegre, Portugal Statement about AOAP Submitted Artwork What intrigues me the most in flowers are details that are often neglected or unseen with a naked eye. We need to stop and take a time to observe, in order to perceive. Despite the limitation of the postcard size, I wanted to make the flowers as monumental as possible, and to capture the dancing movements of their petals and stamens. I hope you can imagine their scent. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Jackie Berridge Sanctuary, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My paintings and drawings are inspired by childhood memories, dreams, and traditional stories. I create fantastical landscapes populated with beings and anthropomorphic creatures, telling tales of joy and sadness mixed with shades of darkness. Education 2018-2019 Turps Banana Correspondence Course, UK 2004-07 MA Children's Book Illustration, APU Cambridge 1995-1996 Post Grad Certificate in Arts Practice. University of Derby 1992-1995 Fine Art BA (Hons). First Class, Nottingham Trent University Solo Exhibitions 2024-2025 Flights of Fancy, Enia Gallery, Athens, Greece 2019 Living Rooms, The Angelus Gallery Winchester College, Winchester, UK 2017 Fantastical Landscapes, Tarpey Gallery, Castle Donington, Derbys, UK 2016 Lost, Rabley Drawing Centre, Marlborough, Wilts, UK 2014 Perfume and Savages, Angears Centre, Lakeside Arts, Nottingham, UK 2012 Short, Sharp, Blow to the Head, Solo Show, Trade Gallery, Nottingham UK 2007 Grace:Sequential Drawings, Frances Bardsley Visual Arts Centre, Romford 2002 Unnatural Selection, Derby Museum & Art Gallery, Derby Selected paintings, Royal College of Pathologists, London Extracting Anatomy, The Yard Gallery, Wollaton Hall, Nottingham Group Exhibitions 2024 Silent DISCO 24, Graham Crowley's Studio, Wickham Market, Sussex Royal Scottish Academy Open, Edinburgh, Scotland 2023 No Place Like Home, Arthouse Jersey, Jersey PLOT at Platforms Project 2023, Athens, Greece 2022 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK 2021 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK Royal Academy Summer Exhibition, London UK 2020 Art-Athena Art Fair, Athens, Greece 2019 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK 2019 Exceptional - graduate award, Collyer Bristow Gallery, London UK Group Show by 8 Indian artists and 3 UK artists, Reliance Arts Centre, Baroda, India 2018 Back to basics: Painting, ENIA GALLERY, Athens, Greece When All is Said... and Done', Curated by Artemis Potamianou, Angus-Hughes, London, 2017 Royal Academy Summer Exhibition, London UK London Group Open Part 2, Cello Factory, London www.thelondongroup.com Untold, PLATFORMS 2017, Athens 2016 Royal Academy Summer Exhibition, London UK Awards 2024 W Gordon Smith & Jay Gordonsmith Award, Scottish Royal Academy 2022 RSA Maude Gemmell Huchinson Prize, Scottish Royal Academy 2022 2019 Exceptional - graduate award, Collyer Bristow Gallery 2016 Nottingham Castle Open - awarded the John E Wright Prize 2014 Tarpey Prize, Nottingham Castle Museum & Art Gallery Open 2013 SKETCH2013, Exhibition Prize, Rabley Drawing Centre, Marlborough 2012 Nottingham Castle Open Prize, Nottingham Castle Museum & Art Gallery Open 2011 Nottingham Castle Open Prize, Nottingham Castle Museum & Art Gallery Open 2007 MA Dragon Prize, Anglian Ruskin University 1995 Leicester Open prize winner, City Gallery, Leicester Gallery Representation Enia Gallery, Athens, Greece Tarpey Gallery, Castle Donington, Leics Public Collections Cambridge School of Art Statement about AOAP Submitted Artwork These four paintings are like vignettes of larger work where I create imagined landscapes carpeted with lush trees and dazzling flowers. These provide the backdrop for tiny tales and are inspired by trips to public parks and botanical gardens at home and abroad. Gorgeous colours and exquisite patterns of Indian miniatures have also played a part after a visit to Baroda, Gujarat in 2019. The cast are an assortment of hybrids, ornaments, toys and her own inventions. Some are 'precious' mementos, others are family figures; a few are gifted to find a role in the paintings. Whilst I have an idea about the narratives, I leave it for the viewer to make their own interpretations. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Jo de Banzie Behind them the stars still shined, 2021 Silver and collodion on aluminium Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jo de Banzie is a photographic artist who employs the materiality of ancient and experimental process to explore memory and place. With a particular interest in motherhood within the context of war, she uses her own family stories as a starting point to explore themes of nurture and loss. Combining historical research and archive material with oral history and the imagined, Jo creates visual narratives as seen through a female lens. A process-led approach and the use of conceptually relevant materials assist her in visualising the unseen, whilst allowing the necessary space for collaboration with chance and serendipity. Following a long career as a professional photographer working in commercial and documentary portraiture, Jo took time to rethink her practice with further study at the University of the Arts London, graduating with distinction from the London College of Communication's Photojournalism & Documentary Photography master's programme. Her work is held in private and museum collections, including the National Art Library Collection at the V&A. Education 2017-2018 MA in Photojournalism & Documentary Photography, University of the Arts London (UAL), The London College of Communication Solo Exhibitions 2019 Hallowed Ground - The London Scottish Regiment, Pimlico, London, UK 2018 Tender - National Gardens Scheme, London, UK Group Exhibitions 2024 - March 2025 IPE 165 - The Royal Photographic Society, The Museum of Gloucester, UK IPE 165 - The Royal Photographic Society, Paintworks, Bristol, UK 2023 Hello World - Hive Curates, Broadworks, Liverpool Street, London, UK A Siren's Call - AiRM, St Mary in the Marsh, Kent, UK No Ordinary Love - One Hundred Shoreditch, London, UK Transmutation - The Margate School, Margate, UK 2022 Open Cells - The Koppel Project, Hampstead, London, UK Serenity - The Old Bank Vault, Hackney London, UK 2021 RHS Botanical Art & Photography - The Saatchi Gallery, London, UK 2020 Outside In - The Old Bank Vault, Hackney, London, UK 2019 Xhibit - The Koppel Gallery Central, Soho London, UK 2018 Elephants in the Room - LCC Elephant & Castle, London, UK I the Other - Safe House, Peckham, London, UK Awards Fellowship The British Institute of Professional Photographers (BIPP) Fellowship The Master Photographers Association (MPA) Public Collections V&A - National Art Library Collection - London UK Statement about AOAP Submitted Artwork Title: Behind them the stars still shined Medium: Tintype - Silver & Collodion on Aluminium The work references a quote from In Parenthesis, by the war poet David Jones. Prior to serving with the Royal Welch Fusiliers in WW1, David Jones was a talented artist, and indeed he remained a celebrated painter and engraver. However, the battalion's experience in Mametz Wood in July 1916 later led him to 'make a shape in words' to express his trauma. The lyrical and lacerating shape he made has lodged firmly in my artist's brain, and I carry it with me when making work on war. The Tintype process utilises a salted collodion emulsion sensitised with silver nitrate, one of the earliest photographic chemistries dating back to the mid-19th century. Collodion, or cellulose nitrate, was traditionally used as both a wound dressing and an explosive, otherwise known as gun cotton, and its use in the making of this work is conceptually relevant. "Stand-to. Stand-to-arms. Stealthily, imperceptibly stript back, thinning night wraps unshrouding, unsheafing - and insubstantial barriers dissolve. This blind night-negative yields uncertain flux. At your wrist the phosphorescent dial describes the equal seconds. The flux yields up a measurable body; bleached forms emerge and stand. Where their faces turned, grey wealed earth bared almost of last clung weeds of night weft - behind them the stars still shined." David Jones, In Parenthesis You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Nessie Ramm Exit (moss and plantain), 2025 Oil on aluminium Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Nessie Ramm is a contemporary botanical and landscape artist on a mission to paint the road verges of Britain. She lives and works in East Sussex, where she also rewilds local verges. She gained a degree in Natural Sciences, specialising in plant biology, from Cambridge University before moving into oil painting. She has worked as an artist for over 20 years. In her series of 'Roadkill Cans' Nessie finds drinks cans flattened by traffic in the road and paints them with a plant which was observed growing nearby. Each can is meticulously opened out and cut to shape to expand the painted area - only the can itself is used, nothing is added. These works contrast the wastefulness of humanity with the redemptive vigour of nature. Roadkill Can No. 9, depicting a dandelion, was found in Stockwell, London. In her 'Signs of the Times' Nessie paints not one but a whole community of roadside plants, using a metal road sign as her canvas. Under her paint brush plants seem to grow over the familiar letters of signs such as 'Reduce Speed Now' or 'Diversion' and in doing so reclaim them and reframe their meaning. These works are both a celebration of the small wonders to be found in unloved spaces and a call for us to re-evaluate our relationship with the natural world. In 2019 Nessie was artist in residence at Wadhurst Park Estate for a very special project. 'In Celebration of Small Things' is a 12-metre-long mural depicting the wild plants and associated invertebrates, birds and small mammals to be found on this nature-focused estate. Each species is painted life-size and labelled with its common name to provide a useful resource for staff and visitors. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Weronika Anna Rosa Cymbidium Kellys Winter Orchid, 2024 Gouache and pencil on cotton paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About WERONIKA ANNA ROSA (b. 1990 in Warsaw, Poland) - visual artist, painter and designer, since 2016 based in Lisbon, Portugal. Rosa grew up in a family involved in arts and natural sciences. These two distant, but strongly complementary worlds, constitute the pillar of her visual sensibility and sculpted her curiosity. Plants play a vital role in her work - they are not only subjects, but also a vehicle of meanings and emotions. Rosa uses botanical iconography to explore relations between plants and humans; botany and its connection with current socio-cultural and environmental factors. The artist captures the ephemeral matter of nature, looking into its strength and fragility, imperfections and beauty. Starting from a careful observation of plants, through botanical studies and realism, she abstractly scales the subject, bringing it closer to the size of a human body. Rosa intends to express the identity of plants by observing their essence, and by analysing their history and role in our culture. This naturalistic representation becomes a universal and metaphorical language. Rosa experiments with various artistic techniques and media to obtain diverse textures, scales and volumes, in a way to reach the observer on different sensory levels. Education 2019 Botany and Art, course at FCSH, Universidade Nova, Lisbon, Portugal 2016-2017 Bachelor's degree in Ceramics, Faculty of Fine Arts, University of Lisbon, Portugal 2015-2017 Master's degree in History of Art, Faculty of Arts, University of Lisbon, Portugal / University of Warsaw, Poland 2011-2015 Bachelor's degree in History of Art, University of Warsaw, Poland 2010 Drawing of Nature, course at the Natural History Museum of Marseille, France Solo Exhibitions 2025 Vestígios de Memórias, National Museum of Natural History and Science, Lisbon, Portugal (TBC), Cliché Gallery, Warsaw, Poland 2023 Natura Ludzka, Galeria Prześwit, Warsaw, Poland 2021 In search of Beauty, Minds&More, Lisbon, Portugal 2020 Fabric - The Master's Material (Tkanina - Materia Mistrza), Galeria Nizio, Warsaw, Poland 2019 (In)Visivel, Espaço Santa Catharina - ESC, Lisbon, Portugal 2018 Vivace, Galerie La Canopée, Lisbon, Portugal 2017 Secret Garden's Metamorphosis, Transept, Lisbon, Portugal Group Exhibitions 2024 Warsaw Art Fair (represented by Cliché Gallery), Warsaw, Poland Souvenirs from faraway places, I have never been, Ethical Assembly, Lisbon, Portugal Lisbon Design Week, Artlier, Lisbon, Portugal 2023 Planatae, annual exhibition of the Society of Botanical Artists, Mall Galleries, London, United Kingdom 2020 Gardens, Analora, Lisbon, Portugal Awards 2025 International Design Pool, artistic residency organised by Vista Alegre, Portugal Statement about AOAP Submitted Artwork What intrigues me the most in flowers are details that are often neglected or unseen with a naked eye. We need to stop and take a time to observe, in order to perceive. Despite the limitation of the postcard size, I wanted to make the flowers as monumental as possible, and to capture the dancing movements of their petals and stamens. I hope you can imagine their scent. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Jackie Berridge Peeps, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My paintings and drawings are inspired by childhood memories, dreams, and traditional stories. I create fantastical landscapes populated with beings and anthropomorphic creatures, telling tales of joy and sadness mixed with shades of darkness. Education 2018-2019 Turps Banana Correspondence Course, UK 2004-07 MA Children's Book Illustration, APU Cambridge 1995-1996 Post Grad Certificate in Arts Practice. University of Derby 1992-1995 Fine Art BA (Hons). First Class, Nottingham Trent University Solo Exhibitions 2024-2025 Flights of Fancy, Enia Gallery, Athens, Greece 2019 Living Rooms, The Angelus Gallery Winchester College, Winchester, UK 2017 Fantastical Landscapes, Tarpey Gallery, Castle Donington, Derbys, UK 2016 Lost, Rabley Drawing Centre, Marlborough, Wilts, UK 2014 Perfume and Savages, Angears Centre, Lakeside Arts, Nottingham, UK 2012 Short, Sharp, Blow to the Head, Solo Show, Trade Gallery, Nottingham UK 2007 Grace:Sequential Drawings, Frances Bardsley Visual Arts Centre, Romford 2002 Unnatural Selection, Derby Museum & Art Gallery, Derby Selected paintings, Royal College of Pathologists, London Extracting Anatomy, The Yard Gallery, Wollaton Hall, Nottingham Group Exhibitions 2024 Silent DISCO 24, Graham Crowley's Studio, Wickham Market, Sussex Royal Scottish Academy Open, Edinburgh, Scotland 2023 No Place Like Home, Arthouse Jersey, Jersey PLOT at Platforms Project 2023, Athens, Greece 2022 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK 2021 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK Royal Academy Summer Exhibition, London UK 2020 Art-Athena Art Fair, Athens, Greece 2019 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK 2019 Exceptional - graduate award, Collyer Bristow Gallery, London UK Group Show by 8 Indian artists and 3 UK artists, Reliance Arts Centre, Baroda, India 2018 Back to basics: Painting, ENIA GALLERY, Athens, Greece When All is Said... and Done', Curated by Artemis Potamianou, Angus-Hughes, London, 2017 Royal Academy Summer Exhibition, London UK London Group Open Part 2, Cello Factory, London www.thelondongroup.com Untold, PLATFORMS 2017, Athens 2016 Royal Academy Summer Exhibition, London UK Awards 2024 W Gordon Smith & Jay Gordonsmith Award, Scottish Royal Academy 2022 RSA Maude Gemmell Huchinson Prize, Scottish Royal Academy 2022 2019 Exceptional - graduate award, Collyer Bristow Gallery 2016 Nottingham Castle Open - awarded the John E Wright Prize 2014 Tarpey Prize, Nottingham Castle Museum & Art Gallery Open 2013 SKETCH2013, Exhibition Prize, Rabley Drawing Centre, Marlborough 2012 Nottingham Castle Open Prize, Nottingham Castle Museum & Art Gallery Open 2011 Nottingham Castle Open Prize, Nottingham Castle Museum & Art Gallery Open 2007 MA Dragon Prize, Anglian Ruskin University 1995 Leicester Open prize winner, City Gallery, Leicester Gallery Representation Enia Gallery, Athens, Greece Tarpey Gallery, Castle Donington, Leics Public Collections Cambridge School of Art Statement about AOAP Submitted Artwork These four paintings are like vignettes of larger work where I create imagined landscapes carpeted with lush trees and dazzling flowers. These provide the backdrop for tiny tales and are inspired by trips to public parks and botanical gardens at home and abroad. Gorgeous colours and exquisite patterns of Indian miniatures have also played a part after a visit to Baroda, Gujarat in 2019. The cast are an assortment of hybrids, ornaments, toys and her own inventions. Some are 'precious' mementos, others are family figures; a few are gifted to find a role in the paintings. Whilst I have an idea about the narratives, I leave it for the viewer to make their own interpretations. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Nessie Ramm One Way (Self-Heal), 2025 Oil on aluminium Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Nessie Ramm is a contemporary botanical and landscape artist on a mission to paint the road verges of Britain. She lives and works in East Sussex, where she also rewilds local verges. She gained a degree in Natural Sciences, specialising in plant biology, from Cambridge University before moving into oil painting. She has worked as an artist for over 20 years. In her series of 'Roadkill Cans' Nessie finds drinks cans flattened by traffic in the road and paints them with a plant which was observed growing nearby. Each can is meticulously opened out and cut to shape to expand the painted area - only the can itself is used, nothing is added. These works contrast the wastefulness of humanity with the redemptive vigour of nature. Roadkill Can No. 9, depicting a dandelion, was found in Stockwell, London. In her 'Signs of the Times' Nessie paints not one but a whole community of roadside plants, using a metal road sign as her canvas. Under her paint brush plants seem to grow over the familiar letters of signs such as 'Reduce Speed Now' or 'Diversion' and in doing so reclaim them and reframe their meaning. These works are both a celebration of the small wonders to be found in unloved spaces and a call for us to re-evaluate our relationship with the natural world. In 2019 Nessie was artist in residence at Wadhurst Park Estate for a very special project. 'In Celebration of Small Things' is a 12-metre-long mural depicting the wild plants and associated invertebrates, birds and small mammals to be found on this nature-focused estate. Each species is painted life-size and labelled with its common name to provide a useful resource for staff and visitors. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Antique handpainted botanical plates plus some by Mintons etc.

* ELSPETH HARRIGAN (SCOTTISH 1938 - 1999), UNTITLED watercolour on paper, signed in pencilmounted, framed and under glass imagesize 41cm x 32cm, overall size 64cm x 54cmNote: Elspeth Harrigan was a highly respected botanical artist who graduated from Glasgow School of Art in 1960. Her numerous awards included Scottish Lady Artist Royal Horticultural Society Silver Medal in 1985 and 1988. She was married to the artist James Harrigan and her daughter is Claire Harrigan RSW.

* ELSPETH HARRIGAN (SCOTTISH 1938 - 1999), PURPLE POPPY watercolour on paper, signed in pencil mounted, framed and under glassimage size 44cm x 55cm, overall size 64cm x 74cmNote: Elspeth Harrigan was a highly respected botanical artist who graduated from Glasgow School of Art in 1960. Her numerous awards included Scottish Lady Artist Royal Horticultural Society Silver Medal in 1985 and 1988. She was married to the artist James Harrigan and her daughter is Claire Harrigan RSW.

* ELSPETH HARRIGAN (SCOTTISH 1938 - 1999), UNTITLED watercolour on paper, signed in pencilmounted, framed and under glassimage size 43cm x 32cm, overall size 65cm x 52cmNote: Elspeth Harrigan was a highly respected botanical artist who graduated from Glasgow School of Art in 1960. Her numerous awards included Scottish Lady Artist Royal Horticultural Society Silver Medal in 1985 and 1988. She was married to the artist James Harrigan and her daughter is Claire Harrigan RSW.

g Elizabeth II (1952-2022), gold proof piedfort Fifty Pence, 2019, struck to celebrate the 250th Anniversary of foundation of the Royal Botanical Gardens in Kew, crowned bust right, IRB below truncation for designer Ian Rank-Broadley, Latin legend surrounding, ELIZABETH. II. D. G REG. F. D. FIFTY PENCE, rev. design by Christopher Le Brun, Kew pagoda encircled by a vine, dates 1759 and 2009 either side, date at the base of the pagoda (issued as part of S.PCGS33). Brilliant proof as struck, graded by NGC as PF70 Ultra Cameo.NGC Certification 5878561-004Limited issue of 50 Originally issued as part of the British Culture 50p gold piedfort proof set issued in 2019 to showcase the most popular reverse designs for the British 50p.

Mary Jenifer Cooper MBE ARIBA (British, 1929-2019) A large quantity of botanical and landscape watercolours, framed and unframed, largest work size, 24 x 35cm (qty)Mary Jenifer Cooper was a Cambridge based artist, who had a significant impact on the local community. Founding the charity Link House Trust in 1986, she gained deserved recognition after receiving her MBE in 2009 for her work on behalf of the charity. Mary was a member of the Royal Institute of British Architects alongside her husband.

Four Swindon Salt Glazed Flaggons including Philip H Mason Swindon impressed mark H20cm and Bamforth & Co Botanical Brewery consecutive years 1930 x2 & a1932.

Quantity of 13x Gerogian and Victorian trade tokens to include: 1794 Bath somerset - Half penny - Botanical gardens, 1866 Penny folk art engraved as jockey, 1848 Moden toy crown, 1820 half penny sloop token comercial change for upper canada, 1791 Half penny token - Hampshire, Sir Bevois southhampton arms, 1815 1 penny workhouse token - sheffield 'Overseers of the poor', 1700s Anthony Giles on pistol scale pan weight, Victorian - Dunn & Co merchant tailors London token, 1897 Gigantic wheel earls court token / medalion, Penny token for Jackson & Listers Warehouse, Remington typewriter token and further Misstruck token etc. (13)

Two boxes of stoneware flagons, beer bottles and jars, including a John Fentiman Botanical Brewer of Southwick flagon

Stamps: Great Britain Unmounted Mint selection in large blocks, including geographical x12, botanical x12, Shakespeare x6, 700th Anniversary x6, Churchill Phosphor x12 and ITU Phosphor x12 all Fine UMM.

* Strickland Family Archive. A collection of approximately 200 drawings, late 18th-early 19th century, by various members of the family, comprising 25 finely executed botanical preparatory studies, in partial watercolour and pencil (believed to be by Juliana Strickland), and approximately 175 pencil sketches and studies, mostly of historical buildings and landscape scenes, the majority on loose sheets, some in sketchbooks (one disbound), or in portfolios (one titled in ink manuscript 'Mrs Freeman's Sketches'), many captioned, some dated, together with: several ink manuscript letters, lists etc. by the Strickland family (especially Strickland Freeman and his wife Elizabeth), one dated 1798, unsigned and describing a tour of the country, visiting various estates including Woburn, another similar, dated 1817 and describing a tour around Devonshire, with accompanying itinerary; empty envelope addressed to 'Mr Freeman, Fawley Court'; a paper bi-fold roughly titled 'Monsters', containing numerous ink blot insects and animals; ink manuscript notes regarding oil painting, the materials used and their preparation; a pencil manuscript list of people met with notes about them (eg. 'good humour & honor' [sic], 'mate of the Perseverance East Indiaman', etc.), a small folder of leaf skeletons together with ink manuscript notes on how to make them, and a few silhouettes, also a folder containing 24 Chinese Export? watercolour drawings of a red plant (seaweed?) and 26 watercolour drawings of oysters?, some with Chinese annotations in ink manuscript, most with English ink manuscript annotations, apparently regarding prices, quality of the materials, and possible use of the red seaweed for making buttons, plus: a single folio sheet advertisement for 'John Holl, Bookseller, Printer and Stationer, High-Street, Worcester', circa 1790, printed on both sides with details of publications, pocket-books and almanacks, sealing-wax and wafers, musical instruments, colours and materials for drawing, painting &c., playing and printing cards, etc., also advertising a large selection from 'Holl's Genuine Patent Medicine Warehouse', including items for coughs, nervous disorders, for the stomach, for weaknesses, Dr. Hill's Herbal Medicines, etc., ornate woodcut printer's device to recto, both sides with outer typographical border, with some unrelated artworks and prints, comprising: an album of 14 sketches by Harry J. Johnson, some watercolour, some pencil; and another 17 items, sketches and prints, various conditions and sizesQTY: (A carton)NOTE:This collection of drawings and manuscripts comes from the archive of Apperley Court, Gloucestershire, the home of Henry Eustachius Strickland (1777-1865), his sisters Juliana and Charlotte, and his daughter Frances. The family members involved in this collection are believed to include Juliana Sabina Strickland (1765-1849), Elizabeth Freeman née Strickland (died 1821), and Frances Strickland (1803-1888). Possibly also Charlotte Strickland (died 1833) and John Henry Strickland (1818- ).The places drawn include: Bristol, Aysgarth Force, Fountains Abbey, Windermere, Richmond, Matlock, Warwick Castle, Battle Abbey, Valle Crucis Abbey, Cambridge, etc.Three female members of the Strickland family, Julia (also called Juliana), Charlotte, and their niece Frances were good watercolourists. Charlotte and Juliana were sisters who provided the 'exquisite' botanical illustrations for the work Select Specimens of British Plants, edited by their cousin and brother-in-law Strickland Freeman. Many of the pencil drawings are by their sister Elizabeth, who married Strickland Freeman of Fawley Court near Henley, in 1781.

Indian Mutiny 1857-59, no clasp (Mr. G, H, Kearney. Volunteer) nearly extremely fine £300-£400 --- Whilst this medal is correct in all respects, it is unclear exactly where Kearney came under fire. The Directories place him around Meerut and the Etawah and Aligarh Districts at the time of the Mutiny but the medal rolls fail to mention him. It is known that small groups of resourceful Indigo Planters and other growers joined together roaming through these districts looking for safe haven. George Henry Kearney was born on 22 April 1829, at Nasirabad, son of James Kearney, Gunner, 3rd Company, 4th Battalion Bombay Artillery and his wife Ann. He had enlisted in 1808 stating he was a labourer from Tullakean, County Down, for a period of 7 years. He served for 24 years before joining the Bombay reserve corps 1st Company Artillery Invalids in 1832, with further reserve service in the Invalid Veteran Company to 11 November 1841. He was struck off for Europe on 1 October 1845, an impressive 37 years service albeit much in the reserves. Kearney's adult life from the Directories and Mofussil lists show him firstly living at Hauper, a sub-district of Meerut, from 1849 to 1854. In 1852 it is noted he bought seedlings from the Botanical Gardens of the North West Provinces showing he resided at Goojranwalla, now in modern day Pakistan. In 1859 he resided at Aligarh being the Officiating Superintendent of Roads confirmed by his payment of subscriptions to “The Engineer's Journal and Railway and Public Works Chronicle of India and the Colonies”. In 1862 he is listed as an Indigo Planter at Bholee Plantation, Etawah and also a committee member to promote the objects of the provincial exhibition. In 1875 he was the Assistant at the Muloye Indigo factory Aligarh. While Kearney states he was an Indigo planter, his later writings indicate he was equally at home with the growing of cotton and coffee. This was partly due to the 1859 Indigo Revolt. The growing of Indigo forced by planters on land rented by the local peasants, or Ryots, from the land owning Zamindars had a devastating effect on both planters and growers alike. With the Ryots growing no food for their families both growers and planters had to diversify into food and other commodities. In 1863 Kearney was brought before a committee with respect to “cotton” growing in the Doab and the lack of water being distributed to the growers. His solution was to place the revenue from the Ganges Canal into the hands of the Collector which the Zamindars, who did not attend, thought a very bad idea. A. O. Hume, Commissioner of the district, stated that Indigo growing in and around the Etawah and Aligarh districts had declined considerably in favour of cotton and other profitable commodities. Kearney was a regular contributor and member of the Asiatic Society with learned articles on such subjects as the “Mode of destroying the Cotton Bole Worm”. Other contributions were to the Magazine of Natural History with respect to Butterflies found at the Berkodee Coffee-Estates at Mysore and to the Bombay Natural History Society. Further he was a Correspondent of the Indian Museum. In 1860 he married Arabella Frances, aged 14, at Chunar the daughter of Charles Hurley, Assistant Apothecary to the 31st Regiment, stating that he was an Indigo Planter at Aligarh. He had two daughters namely Arabella Frances Hurley who became the Principal of St. John's School, Dalhousie, Punjab (died 1890) and Kathleen Antoinette Isabella. Kearney died on 2 July 1900, of hyperpyrexia and is buried at Agra Cantonment Cemetery.