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A MURANO GLASS DISH with a Poole lamp, assorted ceramics and a botanical picture

An assembled group of Spode swan handled 'dolphin embossed' ware, c1815, painted with botanical flowers and tightly grouped floral sprays, the rims and handles gilt, the service including two comports, 35 and 37cm over handles and pair of sauce tureens, covers and one stand, pattern Nos 1660, 1875 and 2106 (14) Cover of one of the tureens cracked. Smaller of the two comports - flower painting to interior rubbed, but mostly good condition

A Samuel Alcock botanical dessert service, c1845-50, the central polychrome specimen reserved in fluted gilt cavetto and apple green and apricot border, the pierced dishes with moulded gilt leaf handles, plate 23cm diam, pattern No 2/6732 (12) One dish repaired, three dishes with hairline crack; most of the plates with a hairline crack

PAINTING AND PRINTS ETC, to include an oil on canvas depicting two female figures in a woodland surrounded by wild flowers, indistinctly signed, approximate size 38cm x 28cm, Helen Bradley print 'On an April evening', Anne Searle limited edition print of wild flowers 371/550, Maurice Jacque print of Paris, botanical prints, modern gilt mirror etc

Elspeth Harrigan (1938-1999) - Botanical study, watercolour, signed lower right, 18 x 23cm

A collection of reproduction botanical and maritime prints etc

A box of assorted pictures and prints, to include botanical and ornithological studies, Reg Siger ink and watercolour etc

Thelma Long - Still life with wild flowers, oil on panel, signed lower right, 25 x 20cm; M W Cotte - Pair; Botanical watercolour (3)

Three Royal Copenhagen 'Flora Danica' dishes, circa 1980-84Each finely painted with botanical specimens, the moulded zig-zag rims with gilt beaded borders, titled in black on reverse, comprising: two very large dishes and one plate, 35.5cm and 22.5cm diam., wave marks in underglaze-blue, factory marks stencilled in green, various numerals and letters in green (3)This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Two stoneware flagons, one Pickup & Co, Bristol, the other W. P. Stafford, Botanical Beverages, Denton, 1933, together with 2 James Keiller & Sons, Dundee marmalade jars, stoneware bottles etc

A pair of 19th century botanical watercolours of roses, each 26x19.5cm; together with three colour prints of roses, after Pierre-Joseph Redouté (5)

By and after W. H Fitch, botanical print 'Odontoglossum Cordatum', printed by Vincent Brooks, Day & Son, 52x35cm

A set of three 18th century botanical colour engravings, c.1795, 21.5x12.5cm, published by W. Curtis St. George Crescent

A late 19th/early 20th century gilt brass adjustable bullseye lens, height 14.5cm, an early 20th century large table-top magnifying lens, a late 18th/early 19th century naturalist's botanical specimen magnifier, height 5cm, boxed, a gimbal mounted compass and two further small lenses.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.

Postcards. Extensive collection in 17 albums, including UK topographical; a small range of real photographic; portraits & glamour; theatrical; art & artists; sentimental; bullfighting; horse racing; naval history; botanical & flowers; European resorts & landmarks; American resorts & landmarks; ethnographic; a couple of leather cards; approx. 50 Bruce Bairnsfather WW1, plus other cartoon & humour. Predominantly Edwardian & early-20th century, some later. Together with a military photograph album, 1959-60, a partially filled WW2 photograph album, several empty albums, and an empty Victorian carte-de-visite album, in one carton

New Naturalists Nos 11-20: Pearsall (W.H.) Mountains and Moorlands, 1950 + Yonge (C.M.) The Sea Shore -, 2 copies 1949 & 1961. 1st & 3rd editions + North (F.J.) Snowdonia, 1949 + Blunt (Wilfred). The Art of Botanical Illustration, 1950. + Macan (T.T.) & Worthington (E.B.) Life in the Lakes & Rivers, 2 copies 1951 & 1974, 3rd edition. + Lousley (J.E.) Wild Flowers 2 copies 1950 & 1972, 3rd edition, ex-Peterborough Library copy with stamps. + Nicholson (E.M.) Birds and Men, 1951 + Fleure (H.J.) A Natural History of Man in Britain, 1951. + Summerhayes (V.S.), Wild Orchids of Britain, 1951. + Smith (Malcolm), The British Amphibians, 1951. All in their wrappers. (13)

A French ormolu mounted centre table with shaped top and frieze having extensive mother of pearl, walnut, satin wood and king wood floral and botanical inlay decoration with single drawer standing on cabriole legs, L100cm, H75cm, D55cm

Rare 16th - 17th century hand-colored botanical engraving with four chameiris flore species (iris). Engraving on paper. Dimensions: H 55 x W 44 cm. In fair/good condition.

Rare 16th - 17th century hand-colored botanical engraving. Arbor Uitx. With prunella officinatum and chamepitis maior. Engraving on paper. Dimensions: H 53 x W 41 cm. In good condition.

After P J Redoute. Botanical studies, each 26cm x 20cm. (6)

Portmeiron - Botanical Garden two storage jars, bowls, milk jugs, plates, tea pot, etc; others Pomona

WORCESTER DISH - DYSON PERRINS MUSEUM a late 18thc/early 19thc square dish in the Dragons in Compartments pattern, with a label for the Dyson Perrins Museum, Item No M1856, 22.5cms across. Also with a Chamberlain Worcester botanical dish with blue border (26.5cms diameter), a Chamberlain Worcester botanical plate (23cms diameter),a large Chamberlain Worcester plate with panels of flowers and cobalt blue border around the rim (28cms dia), a miniature Chamberlain Worcester vase (9cms high, marked Chamberlain Regent China, Worcester) and a pair of plates painted with panels of flowers (unmarked, 21.5cms dia). (7)

Miriam De Búrca Beautiful Apocalypse, 2022 Ink on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Miriam de Búrca's earlier work engaged with personal experiences of persisting divisions in Northern Ireland. She experimented with film, video and installation and made drawings of weeds ('Native Aliens') that thrived on the ashes of bonfires and sites of dereliction following periods of conflict. Subsequently, she documented the constructed landscape of the Crom Estate, a former plantation to where she later moved. With Brexit in mind, she has been documenting plant life that grows directly on the border between Northern Ireland and the Republic, identifying them by their co-ordinates rather than botanical nomenclature. Recent work has focused on burial sites in Ireland called 'cillíní', which were used to bury unbaptised babies (until as recently as the 1980s) and many others considered 'unsuitable' for consecrated ground. She has also been adopting the ancient technique of 'verre églomisé' that involves the use of gold, to critique how the legacies of imperialism manifest today. De Búrca examines these phenomena through a post-colonial lens, mimicking imperialist methods and aesthetics that she feels at once attracted to and repelled by. Her drawing has recently been published in Phaidon's series, Vitamin D3: Today's Best in Contemporary Drawing and will be featured in Irish Art 1920-2020: Perspectives on a Century of Change, eds. Yvonne Scott and Catherine Marshall, 2022. Miriam de Búrca lives and works in Galway, Ireland.   Education   PhD in Fine Art, practice-based, University of Ulster Belfast, 2005- 2009 Qualification: Doctor in Philosophy with Award of Excellence Masters in Fine Art, University of Ulster Belfast, 1998-2000 Qualification1st Class with Distinction BA (Hons) Degree in Fine Art, Glasgow School of Art, 1992-1996 Qualification: 2.1 Honours Degree for studio work 1st Class Distinction in Historical & Critical Studies Select Exhibitions/Awards   Pending - Portraits of People and Place, Cristea Roberts Gallery, London, 2022 Pending - RHA Annual, Royal Hibernian Academy, Dublin, 2022 Parklife: Biodiversity in Contemp. Irish Art, Glucksman Gallery, Cork, 2022 EXPO Chicago, Navy Pier, Chicago, US, 2022 TULCA Festival 2021, Galway Arts Centre, Galway, 2021 Drawing Biennial 2021, The Drawing Room, London, 2021 Moving Spaces, group show, Glucksman Gallery, Cork, 2019 -2020 Radical Drawing, group show, Herbert Art Gallery & Museum, Coventry, 2019 -2020 Fragile Earth: Seeds, Weeds, Plastic Crust, MIMA, Middlesbrough, 2019 Protest and Remembrance, group show, Cristea Roberts Gallery, London, 2019 Vanishing Futures, group show, Golden Thread Gallery, Belfast, 2015 Drawn to the Real, group show, Cristea Roberts Gallery, London, 2014 Recent Awards: Arts Council of Ireland Agility Award 2021 Arts Council of Ireland Visual Arts Bursary 2021 Arts Council of Ireland Bursary Award 2018 Arts Council Research Grant 2012 Gallery Representation   Cristea Roberts Gallery   Statement about AOAP Submitted Artwork   Sentinel' - a dead dragon fly with broken wings. The title refers to the mass-decline of insects globally, something that will ultimately lead to our decline also. 'Beautiful Apocalypse' - references the sublime and terrible beauty of a sea storm, a reminder of our fragility in the face of nature's power. 'Cillín on a Golf Course' - a burial site of unbaptised children that is now part of a local golf course; players oblivious to the legacy they are trampling on when they go to recover their golf balls. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Miriam De Búrca Cillín on a Golf Course, 2022 Ink on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Miriam de Búrca's earlier work engaged with personal experiences of persisting divisions in Northern Ireland. She experimented with film, video and installation and made drawings of weeds ('Native Aliens') that thrived on the ashes of bonfires and sites of dereliction following periods of conflict. Subsequently, she documented the constructed landscape of the Crom Estate, a former plantation to where she later moved. With Brexit in mind, she has been documenting plant life that grows directly on the border between Northern Ireland and the Republic, identifying them by their co-ordinates rather than botanical nomenclature. Recent work has focused on burial sites in Ireland called 'cillíní', which were used to bury unbaptised babies (until as recently as the 1980s) and many others considered 'unsuitable' for consecrated ground. She has also been adopting the ancient technique of 'verre églomisé' that involves the use of gold, to critique how the legacies of imperialism manifest today. De Búrca examines these phenomena through a post-colonial lens, mimicking imperialist methods and aesthetics that she feels at once attracted to and repelled by. Her drawing has recently been published in Phaidon's series, Vitamin D3: Today's Best in Contemporary Drawing and will be featured in Irish Art 1920-2020: Perspectives on a Century of Change, eds. Yvonne Scott and Catherine Marshall, 2022. Miriam de Búrca lives and works in Galway, Ireland.   Education   PhD in Fine Art, practice-based, University of Ulster Belfast, 2005- 2009 Qualification: Doctor in Philosophy with Award of Excellence Masters in Fine Art, University of Ulster Belfast, 1998-2000 Qualification1st Class with Distinction BA (Hons) Degree in Fine Art, Glasgow School of Art, 1992-1996 Qualification: 2.1 Honours Degree for studio work 1st Class Distinction in Historical & Critical Studies Select Exhibitions/Awards   Pending - Portraits of People and Place, Cristea Roberts Gallery, London, 2022 Pending - RHA Annual, Royal Hibernian Academy, Dublin, 2022 Parklife: Biodiversity in Contemp. Irish Art, Glucksman Gallery, Cork, 2022 EXPO Chicago, Navy Pier, Chicago, US, 2022 TULCA Festival 2021, Galway Arts Centre, Galway, 2021 Drawing Biennial 2021, The Drawing Room, London, 2021 Moving Spaces, group show, Glucksman Gallery, Cork, 2019 -2020 Radical Drawing, group show, Herbert Art Gallery & Museum, Coventry, 2019 -2020 Fragile Earth: Seeds, Weeds, Plastic Crust, MIMA, Middlesbrough, 2019 Protest and Remembrance, group show, Cristea Roberts Gallery, London, 2019 Vanishing Futures, group show, Golden Thread Gallery, Belfast, 2015 Drawn to the Real, group show, Cristea Roberts Gallery, London, 2014 Recent Awards: Arts Council of Ireland Agility Award 2021 Arts Council of Ireland Visual Arts Bursary 2021 Arts Council of Ireland Bursary Award 2018 Arts Council Research Grant 2012 Gallery Representation   Cristea Roberts Gallery   Statement about AOAP Submitted Artwork   Sentinel' - a dead dragon fly with broken wings. The title refers to the mass-decline of insects globally, something that will ultimately lead to our decline also. 'Beautiful Apocalypse' - references the sublime and terrible beauty of a sea storm, a reminder of our fragility in the face of nature's power. 'Cillín on a Golf Course' - a burial site of unbaptised children that is now part of a local golf course; players oblivious to the legacy they are trampling on when they go to recover their golf balls. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Miriam De Búrca Sentinel, 2022 Ink on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Miriam de Búrca's earlier work engaged with personal experiences of persisting divisions in Northern Ireland. She experimented with film, video and installation and made drawings of weeds ('Native Aliens') that thrived on the ashes of bonfires and sites of dereliction following periods of conflict. Subsequently, she documented the constructed landscape of the Crom Estate, a former plantation to where she later moved. With Brexit in mind, she has been documenting plant life that grows directly on the border between Northern Ireland and the Republic, identifying them by their co-ordinates rather than botanical nomenclature. Recent work has focused on burial sites in Ireland called 'cillíní', which were used to bury unbaptised babies (until as recently as the 1980s) and many others considered 'unsuitable' for consecrated ground. She has also been adopting the ancient technique of 'verre églomisé' that involves the use of gold, to critique how the legacies of imperialism manifest today. De Búrca examines these phenomena through a post-colonial lens, mimicking imperialist methods and aesthetics that she feels at once attracted to and repelled by. Her drawing has recently been published in Phaidon's series, Vitamin D3: Today's Best in Contemporary Drawing and will be featured in Irish Art 1920-2020: Perspectives on a Century of Change, eds. Yvonne Scott and Catherine Marshall, 2022. Miriam de Búrca lives and works in Galway, Ireland.   Education   PhD in Fine Art, practice-based, University of Ulster Belfast, 2005- 2009 Qualification: Doctor in Philosophy with Award of Excellence Masters in Fine Art, University of Ulster Belfast, 1998-2000 Qualification1st Class with Distinction BA (Hons) Degree in Fine Art, Glasgow School of Art, 1992-1996 Qualification: 2.1 Honours Degree for studio work 1st Class Distinction in Historical & Critical Studies Select Exhibitions/Awards   Pending - Portraits of People and Place, Cristea Roberts Gallery, London, 2022 Pending - RHA Annual, Royal Hibernian Academy, Dublin, 2022 Parklife: Biodiversity in Contemp. Irish Art, Glucksman Gallery, Cork, 2022 EXPO Chicago, Navy Pier, Chicago, US, 2022 TULCA Festival 2021, Galway Arts Centre, Galway, 2021 Drawing Biennial 2021, The Drawing Room, London, 2021 Moving Spaces, group show, Glucksman Gallery, Cork, 2019 -2020 Radical Drawing, group show, Herbert Art Gallery & Museum, Coventry, 2019 -2020 Fragile Earth: Seeds, Weeds, Plastic Crust, MIMA, Middlesbrough, 2019 Protest and Remembrance, group show, Cristea Roberts Gallery, London, 2019 Vanishing Futures, group show, Golden Thread Gallery, Belfast, 2015 Drawn to the Real, group show, Cristea Roberts Gallery, London, 2014 Recent Awards: Arts Council of Ireland Agility Award 2021 Arts Council of Ireland Visual Arts Bursary 2021 Arts Council of Ireland Bursary Award 2018 Arts Council Research Grant 2012 Gallery Representation   Cristea Roberts Gallery   Statement about AOAP Submitted Artwork   Sentinel' - a dead dragon fly with broken wings. The title refers to the mass-decline of insects globally, something that will ultimately lead to our decline also. 'Beautiful Apocalypse' - references the sublime and terrible beauty of a sea storm, a reminder of our fragility in the face of nature's power. 'Cillín on a Golf Course' - a burial site of unbaptised children that is now part of a local golf course; players oblivious to the legacy they are trampling on when they go to recover their golf balls. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

A Herend Rothschild Botanical Bird porcelain tea setComprising thirteen cups, fourteen saucers, a teapot, a milk and a cream jug and a sugar bowl and cover. (32)

Three botanical prints

A LARGE MODERN TIFFANY STYLE LAMP, with a green, red and brown glass shade decorated with dragonflies and glass cabochons, over a dark brown cast metal base with botanical moulded decoration, supported on four small feet, height 62cm x diameter of shade approximately 50cm (1) (Condition report: appears in good condition, untested)

A QUANTITY OF CERAMIC AND GLASSWARE, to include four Wedgwood green Jasperware trinket dishes, a Villeroy & Boch 'Botanical' oven dish with lid, an Invicta roasting dish, three Royal Worcester 'Evesham' oven dishes(s.d), approx. forty-six cut glass drinking glasses, (59) ( Condition report: one glass has a small chip, oven dishes show signs of wear)

A group of nine Chinese 'rice paper' paintings, 19th century, each depicting a botanical study, four including insects and butterflies, each 18 by 12cm, mounted, glazed and framed, 35.5 by 29.5cm. (9)

A Royal Crown Derby lamp base, decorated with flowers, together with two other table lamps, together with a Portmeirion botanical jug (4)

Three framed and mounted Botanical prints by Cassell & Company Ltd London, to include 'Ornamental Foliage Plants', 'Roses' and 'Group of Orchids'.

A set of four 19th century English porcelain dessert plates, possibly Davenport, gilded apple green rims, each hand painted with a different botanical study, 23.6cm in diameter

28 unframed French botanical prints by Theodore Descourtilz, hand coloured lithographic prints, taken from "Flore Medicale des Antilles" second quarter 19th Century, approximately 21.5 x 13.5 cm

Pair of early C20th Smith & Co., Botanical Brewers Doncaster, stoneware flagons, stoneware hot water bottle, other items

An early nineteenth century blue and white transfer-printed Spode Botanical series well and tree large platter, c. 1828. It is marked to the underside. 53 cm wide. (1)Condition: Good condition. Ex-Nicholas Moore Collection 

An early nineteenth century blue and white transfer-printed Spode Botanical series small platter, c. 1828. It is marked to the underside. 27 cm wide. (1)Condition: Good condition. 

An early nineteenth century blue and white transfer-printed Spode Botanical series small plate, c. 1828. It is marked to the underside. 16 cm wide. (1)Condition: Good condition. 

An early nineteenth century blue and white transfer-printed Spode Botanical series soup dish and vegetable tureen lid, c. 1828. They are marked to the underside. 22 - 25 cm wide. (2)Condition: Good condition. 

A mid-nineteenth century transfer-printed Wedgwood Botanical part dinner service , c. 1850-70. Comprising of a large oval platter, five dinner plates, eight soup dishes, and ten side plates. All printed and hand-painted. It is marked to the underside. Platter: 48 cm wide. (24)Condition: damage, wear and staining throughout. 

Assorted furnishing prints to include works after Picasso, Cecil Aldin, Donald Wilinson, botanical, etc etc, framed (parcel)

Thomas Satterthwaite, (British, 19th Century), two botanical studies of flower species, watercolour, the artist's name and date 1846 written verso, 26 by 18cm, framed, (2)

Four handpainted floral 19th century English porcelain dessert plates, including Coalport botanical plate, decorated with pink roses, blue and gilded floral trellis, border, Spode etc and a jug (5)

An English botanical painted comport, together with a Dresden dish (2)

Mid 19th Century English botanical part dessert service with gilt decoration

JOHN JESSOP HARDWICK (1832-1917) Botanical study in a naturalistic setting signed, dated 1869 and numbered 44 lower right, watercolour, 18cm x 27cmProvenance: From The Old Rectory, Nether Compton

PAIR OF ANTIQUE HAND COLOURED BOTANICAL PRINTS AFTER HENRY ANDREWS. 25 x 19 cms (2)

Group of vintage Portmeiron wares in Botanical Garden pattern, comprising a set of 12 table mats, set of 6 ramekins, 2 large breakfast cups & saucers, a small oval serving dish, and a rolling pin. Also, a cake platter with serving knife by Royal Worcester in the Arden pattern.

A selection of floral and botanical paintings and illustrations in oils and watercolourW:47cm x H:55cm

A three fold screen with printed botanical decoration

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

A group of Derby porcelain, including a gold mark dessert plate, painted with a white petalled ladies slipper, by John Brewer, taken from Curtis Botanical magazine, c.1800; together with a Derby red mark cabinet stand, decorated with flower swags; and a King Street Derby cup and saucer, flower decoration; a Royal Crown Derby cup and saucer, similarly decorated; and a blue transfer printed sugar basin (7)

A set of seven 19th century Derby (Robert Bloor) green ground botanical plates, each painted with a specimen flower and insects and titled verso, iron-red printed mark along with a matching soup bowl. Dia.29cm.

Portmeirion Botanical flan dish, coffee pot and storage jar

A late 19th/early 20th century botanical study on a white opaque glass panel, 29cm, x 21cm, framed; a Queen Victorian commemorative plate, Queen & Empress Jubilee Year 1887; another William Gladstone, Prime Minister 1880 and 1886 (3)

AN EXTENSIVE ROYAL COPENHAGEN 'FLORA DANICA' PART DINNER AND COFFEE SERVICE20th centuryFinely painted with botanical specimens, the moulded zig-zag rims with gilt beaded borders, most titled in black on reverse, comprising:12 dinner plates;12 luncheon plates;12 side plates;12 soup bowls;10 larger plates, pierced borders;24 small dessert plates, pierced borders;a tureen, cover and stand, 30 cm wide;2 oval dishes, 46 cm wide;2 oval dishes, 27.5 cm wide;2 shaped pickle dishes, with handles;a pair of triangular tazza;a twin handled sugar pot and cover;12 coffee cans and saucers;and a cream jug, Wave marks in underglaze-blue, factory marks stencilled in green, various numerals and letters in green (118)Footnotes:Provenance: Acquired from Georg Jensen Silver Ltd., 1982.For further information on this lot please visit Bonhams.com

Two Chinese watercolours, on paper, of birdsLate 19th Century Together with two Botanical prints after Redoute, and another hand coloured Botanical print, the largest 46.5cm high x 33cm wide (18 5/16in high x 13in wide)5For further information on this lot please visit Bonhams.com

A pair of George Grainger botanical shell-shaped dishes, circa 1835-40 with polychrome painted flowers within moulded borders 22.5cm

Fine pair Early 19th century Bloor Derby botanical subject dessert plates with Marquess's coronet above a Gothic B monogram within border cartouches, each plate painted with flowers and insects within apple green borders and named on reverses 'Sweet William' and 'Rose'- red marks 22 cm diameterBoth in good order with minor gilding wear and slight rubbing to borders

Four Derby botanical plates, to include pattern 115, Derby collection no.150 and 151, c.1795