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

A Victorian album/scrapbook of Christmas and New Year Cards, some handwritten pages of poems dated 1875 and others, some botanical colour prints, Edwards family mentioned, very colourful and well preserved inside, approx. 25 pages of content

Two Stoneware advertising bottles, 'Minister Bros., Botanical Brewers, Ipswich 1932, 28cm tall and 'Markhams Norwich Ltd., Botanical Brewers, St. Miles Oak St., Norwich, dated 1936. 28cm tall (2)

MANUSCRIPT. [A book of original hand-coloured botanical watercolours with hand-written descriptions. N.p.: circa 1900.] 246pp., 8vo (177 x 115mm.) 226 hand-drawn and coloured botanical watercolours on numbered leaves, recto only, 6pp. hand-written botanical description and classification, 70pp. blank to rear, 13pp. bound-in hand-written index of names. (Toning to margins, an 'Order' stamp to every leaf.) Contemporary black morocco (worn). Note: the 'Order' stamp suggests the collection was put together for retail purposes.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

HANHAM, Frederick (editor). Natural Illustrations of the British Grasses. Bath: Binns and Goodwin, 1846. First edition, 4to (308 x 204mm.) 61 mounted dried specimens of grass on separate leaves. (Lacking 1 specimen 'Bromus Secalinus', 3 are partially lacking, and 3 loose, offsetting to descriptive leaves, occasional soiling and creasing.) Original blue silk moiré boards bound by Astle & Sons, gilt decoration to covers (heavily rubbed, spine panel worn with loss). Provenance: Dawson of Low Wray (armorial bookplate to front pastedown). - And six related volumes (including an album of approximately 225 botanical specimens from North Yorkshire mounted on 29 leaves, all numbered and titled with Latin and common names in pink and blue manuscript hand, 1928-1933, small folio). Provenance: by descent, from the estate of Rendel Williams (7).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

Group lot of twenty-three artworks to include: 'Stephan Whittle, 'Harvest Time' coloured etching (120/150), hand-coloured engraved botanical print of 'Digitalis Sceptrum'; two 19th century engravings of birds, four South-East Asian embroidered padded tapestries and others (23)

A collection of Portmerion Botanical wares comprising mainly shaped pieces including toast rack, tureen and cover, open bowl, storage jars, flour sifter, etc

A collection of mainly 19th century English porcelain plates with hand painted botanical and other detail, Newhall dessert plate with floral detail, two graduated blue and white platters with floral detail, a further Adams ware bowl in a blue and white colourway (20) approx

BOTANICAL PRINTS, a set of three, in mirrored frames, 53cm W x 64cm H. (3)

THREE BOXES AND LOOSE PICTURES AND PRINTS ETC, to include Victorian topographical prints, a signed limited edition print depicting a cyclist with a large quantity of books on their bike rack, indistinctly signed, approximate size 58cm x 16cm, signed landscape print indistinctly signed, two oil on glass studies of wild flowers, both unsigned, framed botanical book plate prints, 1984 Guinness calendar - some foxing, two crewel work pictures circa 1970's, framed brass rubbing, approximate size including frame 128cm x 67cm, together with other assorted prints etc

Approx 150 monochrome photographic glass slides, mainly botanical and Caribbean agricultural scenes.

Four framed and mounted Botanical prints from Webster Fine Art Ltd., 24" x 20 1/2".

A quantity of Portmeirion Botanical Gardens and Summer Strawberries including jardiniere, rolling pin, cups and saucers, jug, candle holder etc.

ELFTEILIGES KONVOLUT, Botanische Blätter, Konvolut bestehend aus drei gerahmten Stichen teilw. coloriert. HxB max.: 50/38 cm. Alters und Gebrauchsspuren. Kein Versand.| ELEVEN-PIECE VINTAGE, botanical leaves, Mixed lot consisting of three framed engravings, partly coloured. HxW max.: 50/38 cm. age and signs of wear. No shipping.

A botanical picture of bulb and flower, framed and glazed, 21cm x 14cm

Kew Botanical Flower Illustrations of Franz Bauer, limited edition prints of 500 set of 4. Mary Harper Horticultural study, etching 1 of 30 30 x 40cm. Pear print. (6)

A collection of sixty microscope specimen slides, late Victorian and later, including entomological, botanical and biological, some with printed paper labels, including 'W. Watson & Sons' and 'H.W.H. Darlaston Birmingham', contained within a mahogany case with fourteen removable trays.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.

Circa World War I album containing several watercolour, pencil and pen and ink sketches, various subjects to include military, 'Beware of the War Dog', inscribed "I'd better get back in my kennel, the Bristol Battalion is coming - 'A' Company, Bristol Batt. Gloucestershire Regiment", dated 1914, botanical studies, humorous animal subjects, etc

19th century Meissen porcelain octagonal plate, with painted botanical studies, 24cm across, ex-Montagu Von Mansfeld collectionNo chips cracks or restoration, gilding slightly rubbed on the edges

A collection of botanical prints, French examples, military, painting, etc.

A collection of assorted prints, including hunting after Ackerman, botanical and classical examples

BLANCHE HENREY. 'British Botanical and Horticultural Literature Before 1800.' Three volumes, original cloth, Ord University Press, special edition for Sandpiper Books, 199, fine. (3)

BOTANY and HORTICULTURE INTEREST. 'The Botanical Garden,' signed by authors Roger Phillips and Martyn Rix, two volumes, in card slip, coloured illustrations throughout, MacMillian, 2002; 'Art in Nature,' over 500 hundred coloured illustrations from Curtis's Botanical Magazine, unclipped, folio, Studio editions, London, 1991; 'An English Florilegium,' paintings by Mary Grierson, unclipped dj, folio, Thames and Hudson, London, 1987; Plus five others. (9)

BOTANICAL & HORTICULTURAL INTEREST. Ten hardbacks including the two volume 'Botanical Garden' by Roger Phillips and Martyn Rix, plus specialist on tree ferns, Australian Rushes and Canadian Wildflowers, all vg. (10)

A box containing a quantity of assorted ceramic items including Spode Botanical lidded chocolate cup, Canton plate, etc.

Stones (Margaret, 1920-2018). Tulipa, watercolour, depicting a bright red goblet shaped tulip with speckled green leaves, signed in image lower right, titled and inscribed in pencil to lower margin 'Tulipa sp (?T. tschinganica) USSR RBG Kew, March 30th 94', 20 x 15cm (7 7/8 x 6ins), mounted, framed and glazed (36.8 x 30cm), together with Trillium Sessile, watercolour, depicting a single trillium sessile with marked green leaves and upright pinky red flower emerging from the centre, artist's signature to lower right stem, pencilled title and inscription 'Spinners, Hampshire, March 2002' to lower margin, 24.5 x 16.3cm (9 5/8 x 6 3/8ins), mounted, framed and glazed, (40.4 x 31cm), plus Carpentaria Californica, watercolour, showing a section of tree anemone with white flowers and yellow stamens and narrow elliptical leaves, signed lower left, pencilled title and inscription 'met. R.G.B. Kew June 4th 1990' to lower margin, 37 x 25.2cm (14 5/8 x 10 ins), mounted, framed and glazed (54.8 x 41.4 cms) QTY: (3)NOTE: Australian born Margaret Stones started her formal art training at Swinburne Technical College in 1936 and continued it at the National Gallery of Victoria School from 1940 to 1942. The outbreak of war brought an uncertain future so Margaret decided to train as a nurse. Shortly after completing her nursing exams she was struck down by tuberculosis. During her eighteen month recovery she rediscovered the therapeutic value of drawing. Sir Clive Fitts, a hospital doctor who was also an art collector and patron, mentioned her work to the Director of the National Gallery of Victoria and encouraged Margaret to take up botanical drawing seriously. In 1951 Margaret arrived in London to work with botanists and develop her art, working for more than fifty years as a freelance botanical illustrator for the Royal Botanical Gardens at Kew. She also illustrated The Endemic Flora of Tasmania, published as six vols in 1967-78, and completed The Flora of Louisiana for the Louisiana State University, Baton Rouge. She retired to Australia in 2001.

A set of six 19th century botanical prints each in a glazed oak frameLocation:

Ena Macfarlane (20th century)A set of five, Botanical Studies, signed, watercolours, 33cm x 25cm; others (7)

Japanese woodblocks. A collection of approximately 50 Japanese prints, later 19th & early 20th century, colour woodblock prints of botanical subjects, portraits and genre scenes, various sizes and condition but each approximately 340 x 220 mmQTY: (approx.50)

St. John (Spenser). Life in the Forests of the Far East; or Travels in Northern Borneo, 2 volumes, 2nd edition, revised, London: Smith, Elder and Co., 1863, 3 folding maps, 12 tinted lithograph views and 4 hand-coloured botanical plates, advertisement leaf at end of volume I, a few plates and leaves detaching, small tear and loss to volume I front endpaper, hinges broken, a little light spotting, W.H. Smith Library blindstamps to front endpapers, previous owner signature, original cloth gilt, covers detached, loss at head of volume I spine, tears at spine ends, ink stain to volume II upper cover, 8vo, together with Skeat (Walter William & Charles Otto Blagden). Pagan Races of the Malay Penisula, 2 volumes, 1st edition, London: Macmillan and Co., 1906, numerous half-tone illustrations, light mainly marginal water stains and spotting at front and rear, contemporary cloth, spines faded, 8voQTY: (4)

Dodens (Rembert). Mechliniensis Medici Caesari Stirpium Historiae Pemptades Sex Sive Libri XXX, Antwerp: Balthasarem et Ioannem Moretos 1616, [8], 872pp, [34]., engraved allegorical title, botanical woodcuts after Pieter van der Borcht throughout, engraved initials, engraved printer's device to final leaf verso, bookseller's ticket to upper right corner of front free endpaper verso, final blank frayed and separating at gutter, front endpaper renewed, small hole to title touching final word, many leaves browned, spotting, contemporary calf gilt, worn, joints weak, folio (345 x 215mm)QTY: (1)NOTE:Nissen BBI 517. (1583 edition). The present work is the Latin translation of his 'Cruydeboeck' (1554), which was first published in 1583. An eminently influential work, 'instead of arranging plants in alphabetical order, Dodoens grouped plants according to their properties and reciprocal affinities'. (Encyclopedia Britannica). John Gerard used the work as a source for his herbal.

Edwards, Sydenham Teast (1768-1819), Botanical Plates: Convolvulus Major; The Indian Reed; Cabbage province Rose, published 1788, three etchings with watercolour, the colours fresh on fine laid J Whatman paper, two watermarked J Whatman, one with watermark Crowned Fleur de Lis in a Shield, the full sheets as published, two sheets with a few nicks at the edges, some minor discolouration and handling creases, sheets averaging 54 x 38 cmQTY: (3)NOTE:Sydenham Edwards produced over 1700 plates between 1787 and 1815 for the Curtis Botanical Magazine, and subsequently for The Botanical Register that he founded following a dispute with the editor of the former.

Gerard (John). [The Herball or Generall Historie of Plantes. Gathered by John Gerarde of London Master in Chirurgerie: very much enlarged and amended by Thomas Johnson, citizen and apothecarie of London, London: Printed by Adam Islip, Joice Norton, and Richard Whitakers, 1636], bound without initial 20 leaves (including lacking title), also lacking leaves B3-B6 and final 10 leaves (7A3-6V6), illustrated with numerous botanical woodcuts throughout volume, erratic pagination, D2 torn to lower outer corner with text loss, leaves Q1-Q8 misbound, light offsetting, occasional marks and some light damp stains etc., front pastedown with 19th century bookplate of Corbet Corbet and Richard Corbet of Adderley (Shropshire), 18th/early 19th century marbled calf, gilt decorated spine with later morocco title label, joints splitting with old repair to upper joint, folioQTY: (1)NOTE:ESTC S122175; Henrey 156; Hunt I, 230; Nissen BBI 698; STC 11752.The third edition of Gerard's Herball, being the second edition of Thomas Johnson's expanded version of 1633, which corrected many of the errors found in Gerard's original edition of 1597.

L'Ecluse (Charles de). Clusius, Carolus. Exoticorum libri decem: quibus animalium, plantarum, aromatum, aliorumq?ue peregrinorum fructuum historiae describuntur: item Petri Belloni observationes, 3 parts in 1, Leiden: Raphelengius, 1605, [20], 378, [10], 52, [26], [12], 242, [2] pp., engraved illustrated title, woodcut illustrations to text throughout, engraved initials, 18th-century manuscript references in Latin to margins, scattered corrections in the same hand, occasional light marginal dust-soiling, a few leaves with light water-marks to lower margins, title reinforced with adjacent blank, bound with: Curae posteriores, seu pluminarum non ante congnitarum, aut descriptarum stirpium, peregrinorumque aliquot animalium novae descriptiones... Accesit seorsim Everadi Vorstii de Caroli Clusii vita et obitu oratio, 2 parts in 1, Leiden: Raphelengii, 1611, [6], 72, 24., title browned, a few leaves with water-stain to lower margin, later calf over original boards, 19th-century reback lettered in gilt, lower corners worn and showing, extremities rubbed, a few small wormholes to base of front joint, folio (350 x 220mm) QTY: (1)NOTE:Arber, Herbals, pp. 84-88; Hunt 180, 191 (4to edition of Curae); Johnston 149; Nissen BBI 372, 368 (4to edition of Curae); Pritzel 1759; Wellcome 1.1511, 1514 (4to edition of Curae); Blunt & Stearn The Art of Botanical Illustration p.82."L'Ecluse's work... can be described as the starting point of our modern knowledge for many genera. (Blunt & Stearn). The first work is the second volume of L'Ecluse's collected works, the first being published in 1601. The second work in this volume is the first folio edition of Curae Posteriores, L'Ecluse's last work which was published posthumously. It contains additions and corrections to his former works.

L'Ecluse (Charles de). Clusius, Carolus. Rariorum plantarum historia, Antwerp: Plantin and J. Moretus, 1601, [12], 364, cccxlviii, 12pp., engraved illustrated title page, engraved portrait of the author, numerous woodcut botanical illustrations throughout, lacking the letterpress title-page & *6, some early marginal annotations in Latin with references, scattered corrections in same neat hand, small concomitant wormhole to lower outer corner of many leaves, faint contemporary ownership inscription to title, some leaves with faint marginal damp-stain to upper margin, contemporary brown calf gilt, oval gilt foliate devices to boards, 19th-century reback with spine labels, some wear to upper cover lower corner, corners slightly worn, generally rubbed, folio (345 x 220mm)QTY: (1)NOTE:Hunt 180; Nissen BBI 372. 'This is the first volume of l'Escluse's collected works, the second being the Exoticorum Libri Decem, [Leiden], 1605. Libri I-VI contain the material gathered together in his Rariorum Aliquot Stirpium per Pannoniam et Austriam Observatorium Historia, Anvers, 1583, and his Rariorum Aliquot Stirpium per Hispanias Observatarum Historia, Anvers, 1576' (Hunt 180).

After Joseph Wright of Derby, ARA, British 1734-1797- Two boys by candlelight, blowing a bladder; oil on canvas, 90.2 x 70 cm. Provenance: Collection of David Pleydell-Bouverie and Ava Alice Muriel Astor, USA. Exhibited: San Francisco, California Palace of the Legion of Honor, Long Loan, no.677.60. Note: After the original, now lost, oil by Wright of Derby, executed in c.1769-70, the best version of which is held in The Huntington Library, Art Museum, and Botanical Gardens, California [no.58.16]. Two other copies exist at the Ashmolean Museum, Oxford [WA1899.CDEF.P14] and at The Minories, Victor Batte-Lay Foundation [137.P.83]. The artist's earliest documented treatment of the subject in oil, which exhibits compositional variations to the present work, was rediscovered and exhibited at TEFAF in Maastricht in 2019, and soon after entered the collection of the Getty Museum [no.2020.20].Please refer to department for condition report

A VICTORIAN COALPORT TWIN HANDLED OVAL PLATTER AND A VICTORIAN PORCELAIN PART DESSERT SERVICE, the Coalport platter moulded with gilt ribbon and tassel handles, raised gilt rim and green border framing a hand painted study of fruit, bears gilt ampersand CSN mark, length 38.5cm x width 25.2cm, the dessert service comprises four comports and eleven dessert plates, each with a hand painted botanical study within a transfer printed and pale turquoise border, unmarked, diameter of comports 24.5cm, diameter of dessert plates 22.5cm (16)(Condition report: the Coalport platter is in good condition with some scratches in the green border and light wear to the gilding, the dessert service has a comport with a deep rim chip and stained carack issuing from it, another comport has a small rim chip, one dessert plate has stained cracks running through the centre of the plate, one has some chipping to the foot rim, two have more extensive wear to the border the rest has some light wear)

A GROUP OF LATE 18TH AND 19TH CENTURY BRITISH PORCELAIN TEA AND DESSERT WARES, ETC, comprising Staffordshire seven tea bowls and five matching saucers, transfer printed in blue and white with the Pagoda pattern, gilt rims and bands, unmarked, s.d., a Victorian part dessert service comprising two twin handled short comports and five dessert plates, each with a deep gilt border interspersed with hand painted floral sprays surrounding a botanical study, pattern no. 8051, unmarked, plate diameter 23.5cm, comport lengths 29.3cm and 29.7cm and a Victorian porcelain loving cup, the claret ground with oval cartouche inscribed ' Sarah Sambrook, Hinstock, 1864', height 10.7cm (20) (Condition report: two tea cups are chipped and cracked and a third is cracked, the set has some wear to the gilding in patches, the rectangular comport has two cracks, the rest of the set is in good condition with some light wear, the loving cup has crazing, staining and wear to the claret ground)

Marigold Macgregor (contemporary) colour etching, botanical study, signed and inscribed, glazed frame

Three botanical watercolours, in glazed frames

A Berlin coffee can and saucer, a Paris porcelain coffee can, another can and a saucer, three damaged Derby botanical plates and a Derby yellow ground bowl

Three pairs of framed botanical prints

P Godding (20th Century)/Still Life of Flowers/oil on board, 61cm x 51cm/and a botanical watercolour signed V Nash CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Early 20th Century/Botanical Studies/a collection of approximately two hundred and fifty botanical studies in seven sketch books, most named, some dated, one book signed/watercolour, 13cm x 10cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request, the absence of a condition report does not imply that a lot is without imperfection

A pair of Redoute botanical prints - framed and glazed, together with one other picture

BONE CHINA BOTANICAL CABINET PLATE BY STEFAN NOWACKI, painted with full blown specimen rose, within raised gilt acanthus and mazarine blue border, gilt cavetto and gadrooned gilt rim, titled verso Rosa Gallica Aurelianensis, artist's SDN monogram and Fine English Bone China Derby printed marks, in Clouds Gallery retail boxDimensions: 21.5cms diam.Provenance:private collection Powys, consigned via our Cardiff officeCondition Report:excellent condition

SWANSEA PORCELAIN BOTANICAL DISH circa 1816, cruciform, painted by William Weston Young with a botanical study of drooping star-of-Bethlehem and slipper-orchid, within a solid gilt rim, titled to base in black lettering 'Ornithogalum nutans / Cypripedium calceolus'Provenance:consigned by the family of preeminent Welsh porcelain collector Sir Leslie Joseph, bears his label and that of well-known collector Harry ShermanCondition Report:wear to decoration, minor scrapes to foot only

NANTGARW PORCELAIN BOTANICAL PLATE circa 1818-1820, moulded border and centred study of amaryllisDimensions: 25cms diamProvenance:private collection Gwent, by descent, consigned via our Cardiff officeCondition Report:no structural problems, surface scratches only

A collection of vintage botanical volumes with colour plates, mostly 19th Century

A Coalport Porcelain Plate, circa 1810, painted with a botanical specimen within a gilt anthemion and scroll border, 21.5cm diameterSome crazing and glaze pitting, wear to the gilt rim, star-shaped glaze crack to the reverse, free from chips, cracks and restoration

A Creamware Named Botanical Dessert Dish, circa 1790, painted with "Large Flowere'd Monsonia" within a formal geometric blue border, titled in red, 29cm diameter

South America.- Frézier (Amédée François) Relation du voyage de la Mer du Sud aux côtes du Chily et du Perou, second edition, half-title, 37 engraved maps and plates, many folding (1 browned), library stamps to title and final leaf, bookplate, small paper repair to title upper corner blank margin, occasional light marginal browning or spotting, contemporary calf, spine gilt with red morocco label, sympathetic repairs to head of spine, foot slightly chipped, corners a little rubbed, [Sabin 25925], 4to, Paris, chez Nyon, Didot, and Quillau, 1732.⁂ Second edition of Frézier's important account of his voyages around South America, his charting of the western coast and its fortification, especially Chile and Peru, and botanical and scientific discoveries. This new edition also includes the author's rebuttal of the criticisms levelled at his work by Father Louis Feuillée, a previous French explorer to the region, as well as a chronology of the viceroys of Peru.

Botany.- Japanese School (circa 1890-1910) Composite album containing 72 prints of ornamental irises and other flowers, woodblock prints with vibrant original hand-colouring, on thin Japanese paper, each leaf approx. 270 x 385 mm (10 5/8 x 15 1/4 in), some with printed numbering and identifications in English, a few with letterpress descriptions pasted onto leaves, some with faint printed lettering in Japanese, one leaf detached, some stubs where leaves have been removed, minor offsetting to a few, handling creases and surface dirt, original Japanese fabric-patterned boards with red ties, slightly worn, oblong 4to, [Tokyo, Yoshinoen-Garden, c.1890]⁂ An impressive collection of botanical prints, probably made for a Japanese nursery. Another collection containing some of the same prints was offered at Sotheby's, London in 2019 (see: Travel, Atlases, Maps and Natural History, 14th May 2019, lot 4)

JOAQUÍN PEINADO (Ronda, Malaga, 1898 - Paris, 1975)."Composition with a Pipe", 1943.Oil on canvas.With the label of the Carmen Aranguren Gallery (Seville) on the back.Signed and dated in the upper right corner.Measurements: 22 x 35 cm; 25 x 38 cm (frame).The instability and unrest caused by the Second World War distanced Peinado from easel painting, and he focused on making drawings which he sent to different publishers and which helped him to survive. For this reason this work is of great importance, as it marks the moment when Peinado returned to painting, with a less avant-garde conception, assimilating a "return to order" aesthetic, which was common to many painters due to the political situation of the time. During that period he focused particularly on still lifes, as can be seen in this painting, which has a post-Cubist aesthetic.Joaquín Ruiz-Peinado Vallejo was a Cubist painter, successor of Cézanne and spiritual son of Picasso, and one of the most outstanding representatives of the Spanish School of Paris. He entered the San Fernando School of Fine Arts in Madrid in 1918 and in the following years became a pupil of Cecilio Plá and Julio Romero de Torres, and was awarded a scholarship for three years at the Monastery of Santa María de El Paular, winning the El Paular Painting Prize in 1922. In 1923, once he had finished his studies, he went to Paris, where he settled permanently. There he attended the classes given at the Ranson, Colarossi and La Grande Chaumière academies and at the same time became interested in Cubist painting, an aesthetic he would personalise and maintain in his works. In 1924 he also showed his work at the Salons des Indépendants, Surindépendants and d'Automne. Nevertheless, from the city of the Seine he continued to be part of Spanish artistic life, taking part in the mythical First Exhibition of the Society of Iberian Artists in 1925, and illustrating the magazines "Litoral", "Gallo" and "La Gaceta Literaria", as well as "La flor de California" (1928) by José María Hinojosa. In 1926 he also won the Painting Prize of the Diputación de Málaga. Three years later, in 1929, he took part in two important exhibitions of avant-garde art in Spain: the Exhibition of Paintings and Sculptures by Spanish Residents in Paris, at the Botanical Gardens in Madrid, and the Regional Exhibition of Modern Art, at the Casa de los Tiros in Granada. He was also involved in the performing arts, like other artists of the time, participating in the films "Un perro andaluz" (1929) and "La edad de oro" (1930), by his friend Buñuel, and as a set designer and draughtsman for Feyder's "Carmen" (1925). In 1926 he also took part in the performance of Falla's "El retablo de Maese Pedro" in Amsterdam together with Buñuel, Cossío, Viñes and Ángeles Ortiz. In time, his artistic career would lead him to occupy a prominent position within the School of Paris; he would become director of the Painting Section of the Union of Spanish Intellectuals and later vice-president of the same, and UNESCO would appoint him delegate of the Section of Spanish Painters of the School of Paris. In 1946 he was also one of the organisers of the exhibition "Arte de la España Republicana. Spanish Artists of the School of Paris", held in Prague and, due to its enormous success, later also in Brno. From that date onwards his international exhibitions were frequent, both individual and collective, and he was grouped together with the best French art of the time. However, it was not until 1969 that a retrospective of his work was held in Spain; organised by the Dirección General de Bellas Artes and held at the Museo de Arte Español Contemporáneo in Madrid, this exhibition consecrated his figure in our country. In fact, that same year he was made a member of the Royal Academy of San Telmo in Malaga. His work is currently widely represented in the museum that bears his name in Ronda.

A William Brownfield porcelain dessert service: comprising two tall and three short comports and twelve plates each painted with botanical specimens within a turquoise and gilt line border, circa 1860.

An English porcelain botanical part dessert service, probably Spode: painted with floral sprays and applied with lavender and gilt foliate motifs, iron red pattern number 17??, circa 1820-30, 21/26 and 27cm, twelve pieces comprising three sets of four shaped dishes [one with discoloured crack].

A Minton porcelain botanical part dessert service: of 'Newcastle' shape with moulded basket weave and scroll panelled rims, each piece painted with a single botanical specimen, pattern no.4558, circa 1840-45; comprising eleven plates, two with impressed marks [one with rim crack, one with discolouration and rim crack]; four shaped dishes; two comports [one with chip and related crack] and a pedestal tureen, cover and stand [tureen with discoloured interior firing crack] 20.* Literature Geoffrey A.Godden 'Minton Pottery and Porcelain of the First Period 1793-1850', plates 39-43.

Microscopy Diaries of John Thomas Quekett (1815-1861), and related effects comprising: 1) Two Letts engagement diaries, 1846 and 1847 (12mo, grey cloth), diary for 1846 with Quekett's autograph entries from 16th March to 13th April only (9 pp.), and on 4 loose leaves at rear (these containing household accounts for July-November; additional leaves evidently removed and cords exposed), 1847 with Quekett's autograph entries throughout (120 pp., with additional notes, mainly household accounts, on approx. 30 pp. at front and rear; one leaf of printed text at front loose); 2) Quekett's household accounts diaries for 1845 and 1849 (both Letts diaries, narrow 8vo, diary for 1845 with his autograph entries on approx. 110 pp., 1849 filled by another hand, probably his wife Isabella ('Ella'), d.1872, approx. 120 pp.); 3) Commonplace book of Eliza Quekett (1812-1875), c.1825-30, approx. 90 ff., calligraphic ownership inscription 'Eliza Quekett' to first page, manuscript quatrain signed 'Eliza' to front free endpaper, containing poetry transcriptions (including Thomas Moore, 'On leaving Langport'), 12 laid-in plant specimens, one botanical watercolour, one pen-and-ink drawing captioned 'Fruit of the Mangosteen produced at Sion house', and mounted silhouettes, contemporary red half roan album, 19.6 x 15.5cm; 4) Portrait miniature of Edwin Quekett (1808-1847), identified in later manuscript note on backboard, 'Edwin Quekett, 24th Sept 1841, by L. M. - miniaturist' (not inspected out of frame); 5) Two portraits of John Thomas Quekett with microscope (possibly not from life; medium unknown)Note: John Thomas Quekett was an influential histologist and author of A Practical Treatise on the Use of the Microscope (1848), the first work of its kind. 'He was a well-connected man of considerable scientific stature (the prince consort was among those who came to him for instruction). He was working with the microscope during the period in which it was becoming established as a serious scientific tool' (ODNB), and was appointed secretary of the newly founded Microscopical Society in 1841. During the period recorded in these diaries he was demonstrator of minute anatomy at the Hunterian Museum of the Royal College of Surgeons. (The College today holds a selection of his diaries for other years.) They record social engagements, home life and hobbies, the preparation and analysis of histological specimens (including ostrich and cheetah), the writing of research papers and 'my book' (i.e. the Practical Treatise), committee work, and events including the illness and death of his brother Edwin (1808-1847), also a noted microscopist, and a miscarriage suffered by his wife Ella (née Scott, daughter of Robert Scott, East India Company merchant; his deed box sold in these rooms 24th February 2021, lot 243). Eliza Catherine Quekett was the sister of John Thomas Quekett. ‘[She] married the botanist Charles Frederick White. Charles drew mosses and worked with microscopic fungi. Eliza also collected mosses and microscopic fungi. Both husband and wife were members of the Linnean society’ (Ogilvie & Harveys, eds, The Biographical Dictionary of Women in Science: L-Z, p. 1371). She is unmentioned in the outline of J. T. Quekett's family in ODNB. Provenance: By direct descent.

Mattioli, Pietro Andrea [Andrew Fletcher of Saltoun] Commentarii in sex libros Venice: Vincenzo Valgrisi, 1565. Folio (363 x 245mm), [86] leaves, 1459, [1] p., [6] leaves; full-page woodcut portrait of Mattioli, numerous page-width woodcut illustrations of plants, flowers and animals, woodcut printer's device on title-pages and final verso, woodcut initials, contemporary vellum with manuscript title to spine, bookplate reading 'GOM' to paste-down endpaper, early ownership signature of Andrew Fletcher of Saltoun to title-page, a few very neat annotations to index in an early hand, ties lacking, covers a little soiled A tall fine copy of the monumental edition of the most important medico-botanical encyclopaedia of the sixteenth centuryNote: "First enlarged edition... the 1565 edition is the first augmented by Mattioli's fuller notes and has always been the most valued for its completeness" (Hunt). Although Mattioli wrote on a range of subjects, and published translations of non-medical works, he is most celebrated for his work on botany and medicine, and of these works his best known are his translations of, and commentaries on, Dioscorides' De medica material. Mattioli's first Italian translation from the Greek was published in Venice in 1544, and its 'original purpose was relatively modest: it was to provide doctors and apothecaries with a practical treatise in Italian with a commentary that would enable them to identify the medicinal plants mentioned by Dioscorides' (DSB IX, p.179). Further, expanded editions followed in 1548, 1550 and 1552, and the success of these editions, led Mattioli to translate the work into Latin in 1554. This translation was "enriched by synonyms in various languages, provided with a special commentary, and accompanied by numerous illustrations valuable for the identification of Dioscorides simples [which] rendered the work accessible to scholars throughout Europe. From then Mattioli's name was linked with that of Dioscorides" (DSB IX, p.179). In addition to identifying the plants originally described by Dioscorides, Mattioli added descriptions of some plants not in Dioscorides and not of any known medical use, thus marking a transition from the study of plants as a field of medicine to a study of interest in its own right. In addition, the woodcuts in Mattioli's work were of an extremely high standard, allowing recognition of the plant even when the text was obscure. A noteworthy inclusion is an early variety of tomato, the first documented example of the vegetable being grown and eaten in Europe. This wealth of additional material transformed Dioscorides' work from an antiquarian text into a contemporary physician's vade mecum, enhanced by Mattioli's own observations and many of his own drawings, which remained in print virtually continuously until the 18th century. The 1565 edition, described by Brunet as 'la plus estimée', is considered the best for both its illustrations (first used here in a Latin edition), and text. The fine woodcut illustrations extend across the full width of the page: those of plants are by Giorgio Liberale and Wolfgang Meyerpeck (originally cut for Mattioli's New Kretterbuch (Prague: 1563), with the exception of 'Eruca sylvestris') and 'those of the Animals are new' BM(NH). Reference: Hunt 94. Provenance: Andrew Fletcher of Saltoun. The library of Andrew Fletcher of Saltoun (1653-1716) was the largest private collection of books in Scotland at the turn of the seventeenth and eighteenth centuries. It is significant both in itself and because of the life of its owner. Of a legal and landed family - the estate of Saltoun lay not far from Edinburgh in the fertile country of East Lothian - Andrew Fletcher is famous in his own country as a consistent and eloquent opponent of the Union with England in 1707, a stance for which he became known as "the Patriot". But he was also a political thinker of intelligence and originality, author of a series of tracts on militias and standing armies, on the economic and social condition of Scotland, on the issues facing the Scottish parliament before the Union, and, more generally, on the political prospects of Europe and its smaller states in particular in the face of the ambitions of Louis XIV. Informing both his political and his literary activity was a lifetime of travel, much of it in the Netherlands (and some of it in enforced political exile), but extending to France, Spain and Germany, and possibly further afield still (Fletcher spoke and wrote Italian). It was almost certainly on these travels that Fletcher acquired the greater part of his library. [Willems, P.J.M. Bibliotheca Fletcheriana, or the Extraordinary Library of Andrew Fletcher of Saltoun, Reconstructed and Systematically Arranged. Wassennar, 1999]

MICROSCOPY - A COLLECTION OF ASSORTED MICROSCOPIC SLIDES TO INCLUDE BOTANICAL EXAMPLES, some dated 1946 for Bedford College, contained in six boxes, together with two boxes of blank slides and microscope glass cover slips

‘I was able to examine well the doubtful point’DARWIN CHARLES: (1809-1882) English naturalist, famous for his theory of evolution published in On the Origin of Species (1859). A fine A.L.S., Ch. Darwin, one page, 8vo, Down, Beckenham, Kent, 24th October (1876), to a gentleman. Darwin asks his correspondent to thank Professor Reichenbach for his great kindness and apologises for the trouble he put him and his correspondent to, explaining 'a plant at Kew was afterwards discovered in flower & was sent to me, so that I was able to examine well the doubtful point'. A letter of good content dating from the time when Darwin was preparing a revised edition of his work on orchids. Some very light, extremely minor creasing, VG Ludwig Reichenbach (1793-1879) German botanist & ornithologist, an orchid specialist and the founder of the Dresden botanical gardens and joint founder of Dresden Zoo. During 1861 botany became a preoccupation for Darwin, and his projects became serious scientific pursuits. He continued his study of orchids throughout the summer, writing to anyone who might be able to supply specimens he had not yet examined. Darwin published Fertilisation of Orchids in May 1862, and the book represented his first detailed demonstration of the power of natural selection. A second, revised edition was published in 1877.