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Bywater (Abel): The Sheffield Dialect, 281pp with glossary, original diced cloth, small octavo, pub G Chaloner, Sheffield, 1839; + Fenton (Ben): Poems, Tribute to Scarborough; Odes on Wellington and Napoleon, Haddon Hall, etc; original cloth, uncut, pub Saunders & Otley, 1843; + Law (John): Catalogue Descriptive and Historical of the Rare and Interesting Plants etc of the Sheffield Botanical Gardens, 2nd edition, original cloth, octavo, pub C Mitchell, London, 1849. (3) 

A Victorian coloured print of a hare, botanical studies, gilt framed miniature paintings of cottages etc.

A QUANTITY OF PICTURES AND PRINTS ETC, to include two Edward Robert Hughes prints 'Night with her train of stars' and 'Midsummer eve', approximate sizes 66cm x 88cm including frames, Gerald Coulson 'Friendly Persuasion' print, James Billingsley prints of Birmingham, botanical study prints, photo frames etc (2 boxes & loose)

Art pottery candleholders in a matte finish, designed in the shape of a botanical flower with round base. Roseville backstamp. Issued: 1938Dimensions: 4"L x 4.75"W x 4"HManufacturer: RosevilleCountry of Origin: United StatesCondition: Age related wear.

Set of four modern Chinese embroideries, framed, peacocks amidst branches and peonies, and two framed botanical prints (6) 

Various watercolour drawings, woodland scenes and a snowy landscape, a framed botanical watercolour of lilies, another framed botanical print of dog roses, and a charcoal drawing copying Hands in the Sistine Chapel in Florence (8) 

Collection of framed prints, including two Dutch landscape prints after P. Fouquet, two botanical prints and others

Quantity of framed prints of various subjects, a pair of framed petitpoint tapestries showing roses, a calendar 'Di Schonsten Dampfloks', a photographic portrait of a WWI Private and six framed botanical prints in gilded and blue frames and marbled edged mounts (1 box) 

A FINE EARLY 19th C. PORCELAIN DESSERT SERVICE, HAND PAINTED WITH NAMED FLORAL BOTANICAL SPECIMENS

Spode botanical pattern bone china dinner service with matching teaset

A group of stoneware pots and jugs, one stamped with 'White Bros Botanical Brewers, Leicester. (9)

Sheffield Circa 1900 Engravings in Black and White and Colour, including Botanical Gardens, Cole Brothers, Music Hall, The Manor Housse (14)

A set of six 19th cent Botanical framed prints 

Deep wine red carved scarf loop with a botanical design. Screw back earrings with a abstract flower design. Scarf loop: 1.75"L x 0.75"W. Earrings: 0.75"dia. Issued: 20th centuryCountry of Origin: United StatesCondition: Age related wear.

DARTON HARVEY & DARTON (Pubs).  Botanical Illustrations of the Twenty-Four Classes in the Linnaean System of Vegetables by Select Specimens of English Plants. A miniature book with 48 uncoloured eng. plates. Old red leather. 8.5cm x 7cm. 1813.

EIGHT LARGE FRAMED BOTANICAL PRINTS TOGETHER WITH TWO FRAMED KNIGHTS IN HORSEBACK PRINTS (10)

Interior design interest: After Basilius Besler, a good pair of reproduction 17th century botanical studies, each 53x42cm within the mount

Botanical plates. HARRISON (Joseph) The Floricultural Cabinet, vols. I to VII, 1833-39 in uniform cloth; also vols. for 1840, 1842/43, 1847, 1853-58, in various bindings; in all 17 tomes; coloured plates, some variable staining and age wear. Sold as a collection of plates not subject to return (17)

Botanical plates. The Florist, Fruitist, and Garden Miscellany, 12 vols., for 1849-60, 8vo, numerous fine coloured plates, contents generally good, occasional minor staining, green half calf, lacking 2 spine labels; The Florist and Pomologist, 1864, tall 8vo, without title, 23 coloured plates, front joint/hinge spltting. (13)5 volumes checked at ramdom. Each have between 12 and 14 coloured plates (as called for).

CURTIS (William) The Botanical Magazine; or Flower-Garden Displayed. London: 1795-96, 8vo, vols. IX and X in one, 75 hand-coloured plates, plates 286-360, contemporary tree calf, rebacked

English School (19th century)Ornithological and Botanical Study, A Bird on a Flowering Branchwatercolour, 29cm x 26cm

A botanical phenomenon, these nuts, carried by the ocean current along the Indian coast, were highly prized by princes and kings. Rodolphe II of Habsburg, emperor of the Holy Roman Empire, made an unsuccessful bid of 4,000 gold florins to obtain even one. The seed was officially presented to the French court during the reign of Louis XIV, and gained particular notoriety thanks to the Duc de Praslin. He had the audacity to present these "funny butts" to an aging sovereign, defying the influence of the false devotees who were unsuccessfully ridiculed by Moliere. - Weight: 3.10 kg - Shipping available - Sizes: H 400mm x L 290mm / H 230mm x L 200mm - At first glance: good condition

Herbal.- Parkinson (John) Theatricum Botanicum: The Theater of Plants, or, an Herball of a Large Extent, first edition, hand-coloured engraved title and over 2000 woodcut botanical illustrations in the text, additional printed title, lacks ?preliminary leaf (20 only of 22pp., ?blank), text 3I3 (supplied in manuscript) and index and errata at end, engraved title small tear with loss, trimmed, laid down and with a later border (partially removed), printed title timmed and laid down, hand-coloured engraved plate from another work bound in among preliminary ff., tears in 2Y4, 3I4 (with small loss), 4Q2 and 6G6, other smaller tears in numerous margins, browned, some foxing, new endpapers, modern morocco, gilt spine, pencil note on lower pastedown "1978 - This Book rebound in Oxford - RI & MW", [Blanche Henrey 286; STC 19302], folio, by Tho. Cotes, 1640; sold not subject to return.*** "Parkinson's second work, which occupied him for many years, was Theatrum botanicum (1640), with more than 1700 pages. This described some 3800 plants and showed his extensive reading of the period's authorities; of particular value was the almost entire incorporation of Caspar Bauhin's Pinax, for its synonyms. Parkinson divided plants into seventeen ‘tribes’, based partly on their medicinal qualities and partly on habitat. William How in 1655 roundly accused him of plagiarizing the work of Matthias L'Obel, but Parkinson had acknowledged his debt to him, and as one historian wrote, 'He has taken very little, for the simple reason that very little was worth taking' (Raven, 268). Certainly John Ray did not despise the work, for he termed it 'the most full and comprehensive book of that subject extant' (Raven, 272), and frequently quoted from it." - Oxford DNB.Provenance: Roger Warner (1913-2008), antiques dealer and collector.

Blake (William).- Remember Me! A New Years Gift or Christmas Present, 1826, second issue, engraved frontispiece, title, Kalendar with title & 12 months incorporating vignettes and Raphael's 'Virgin & Child' on 4 leaves printed on both sides, 8pp. engraved music, 11 engraved plates including one by Blake at p.32 and 8 hand-coloured botanical plates, some foxing and marginal water-staining (worse towards end and particularly to plate 'The Storm' at p.275), light offsetting, original printed yellow boards, g.e., a little rubbed and marked, lacking backstrip, preserved in modern cloth drop-back box, [Bentley 490B], 12mo, I.Poole, [?1825].*** One of the rarest of all Blake's plates 'The Hiding of Moses' was the last plate designed and engraved by Blake himself for a commercial publication. Originally published in 1824 this is the second issue of the book with no variance in the plate, the contents omitting blank Kalendar leaves and the misnumbered leaves at the end.

Herbal.- Turner (William) [A New Herball], lacks A1 (title), A2, C2-5, D1 & D2, title and A2 supplied in facsimile, Steven Mierdman, 1551, bound with The seconde parte of Vuilliam Turners herball..., title with woodcut printers device, lacks A4 (blank), E1, L5, R1, 2C1, 2D2, 2F4 (blank) and all after 2G2 (i.e. entire second part "booke of the Baeth"), without the errata slip sometimes pasted in, 2C1 & 2D2 supplied in facsimile, woodcut to O4v partially hand-coloured, Cologne, Arnold Birckman, 1562, together 2 parts in 1, first editions, black letter, numerous woodcut illustrations, woodcut initials, many large and decorative, several ff. strengthened at gutter, some neat marginal restoration and various repairs (more extensive to first few ff.), occasionally affecting some text or woodcut, a few times causing loss to few letters (see part 1 P7 & P8; part 2 Y3v & Y4v), occasional marginal ink notes in early and later hands, including some pagination corrected or supplied to part 2, light browning, some soiling and light staining, occasional damp-mottling, modern calf, spine lightly sunned, [STC 24365 & 24366; Henrey 366 & 367; Hunt 65], folio. *** The first two parts of Turner's great work; a third part was published in Cologne in 1568. "The first essay on scientific botany in England...Turner was the first Englishman to waken his countrymen's minds to a little of what was new in the botanical world" (Hunt).Provenance: Neatham Mill Library (embossed circular stamp to rear free endpaper). 

Wine.- Spain.- Rojas Clemente y Rubio (Simón de) Essai sur les variétés de la vigne qui végètent en Andalousie, translated by the Marquis de Caumels, first edition in French, second issue (with full name of translator and dedication to Duc d'Angoulême to title), half-title, folding engraved plate printed in colours, 6 letterpress tables on 4 folding sheets, spotting and staining, some light browning, contemporary brown morocco-backed green glazed boards, spine richly gilt, boards stained, rubbed, [Oberlé Bachique 127; Oberlé Fastes 958; Simon BG 352; Simon Vinaria p. 263; Pritzel 7739], 8vo, Paris, Poulet, 1814.  *** The Hroar Dege copy of the scarce first French edition of this work on the vine varieties and viticulture of Andalusia, Spain. The author was librarian of the Royal Botanical Gardens in Madrid. He references classical authors, including Crescentius, Cato, Varro and Columella.Provenance: Hroar Dege (1920-2003), Norwegian restauranteur, writer on food and wine and book collector (sold Sotheby’s, 9th June 2005, lot 522). 

Two botanical watercolours by Dorothy Buckley DHS, largest 320mm x 180mm

Pair of vintage curtains, blue ground with botanical birds and foliage, each curtain 185cm wide x 250cm length. Slight watermarks to lining, but otherwise good condition.

A COLLECTION OF 9CT GOLD JEWELLERYincluding a vintage gate link bracelet with heart padlock clasp, 17.5cm; together with a pair of matching drop earrings, 3.0cm; a locket pendant cased in 9ct gold, engraved with botanical scenes, 5.1cm; a sweetheart ring with embossed sweetheart design, UK size M / Eu size 54; four singular hoop earrings; and three close-link chain bracelets, (solid 9ct gold pieces - c.21.1g), (locket - c.12.9g)

A COLLECTION OF COSTUME JEWELLERYincluding a pair of paste chandelier earrings, set with round cut paste stones, secured with post and scroll fittings, no assay marks, 8.5cm; together with an antique paste brooch in silver, set with two rows of round cut paste stones, secured with a pin clasp, no assay marks, 5.7cm; a vintage green paste bracelet in silver, of botanical design, set with a green paste and round cut paste stones, held on a black fabric strap with clasp, stamped '935', top 5.3cm; and a sword brooch in silver, 6.5cm, (gross weight - c.45.9g)

AN ANTIQUE FOB WATCHcased in 9ct gold, the dial with engraved detailing to the centre, painted Roman numerals, Breguet style hands, dimpled outer-track, the case engraved throughout with botanical detailing with 'MH' in a shield to the reverse, manual wind movement, inside case-back stamped '9K', serial numbered, case 33.0mm, (gross weight - c.28.7g)

TWO FRAMED VINTAGE BOTANICAL PRINTS

A pair of early-19th century Spode porcelain shaped botanical dishes, 29cm.

Botanical watercolour study of a cranesbill geranium, 19cm x 15cm, signed with monogram; and seven unrelated pictures and prints, some of Cumbrian interest.  (8).

19th century Sevres marquise shaped serving dish, decorated to the well with hand painted panel of birds in foliage on opaque white ground with further botanical sprays to the border on blue ground with allover gilded vignettes and garlands, interlaced device mark to the underside with letter X, 30cm diameter. Condition report: Chip to rim on right hand side. Light rubbing to gilded rim. Age related grazing to gilded decorations.

Derby - a collection of late 18th century circa 1790s Derby porcelain botanical plates and platters. The lot comprising a large boat shaped platter depicting gum cistus (cistus ladaniferus), a similarly boat shaped plate with floral display at the centre, a small boat shaped plate depicting golden flower'd henbane (hyoscyamus aureus, numbered 115) and a round plate depicting primula veris (common cowslip). Each with historic damage, two with significant repairs & restoration, please see images. Largest measures approx. 9cm tall, 32cm x 24cm across.

A COLLECTION OF NINE NATURAL HISTORY INTEREST PRINTS (9) Botanical studies, birds, flora and fauna, animals. Largest 33cm x 30cm Each mounted in larger frames and glazed.

Six 19th Century botanical decorated fruit serving comports, some AF

A set of six S. Bridgewood & Son botanical handpainted plates

Karl Blossfeldt (1865-1932) was a German photographer and teacher known for his meticulous and detailed photographs of plant forms. He is recognized as one of the pioneers of botanical photography and is celebrated for his unique approach to capturing the intricate beauty of plants.Blossfeldt began his career as a sculptor and later turned to photography as a means of documenting and studying plant structures. He believed that the natural world provided an abundant source of inspiration and a rich visual vocabulary for artists and designers.Using a large-format camera and often magnifying the plant specimens, Blossfeldt captured highly detailed and close-up images of various plants, including leaves, stems, flowers, and seed pods. He meticulously arranged the specimens, often against a plain background, to highlight their structural forms and intricate patterns.Blossfeldt's photographs reveal the inherent artistic qualities found in nature, showcasing the harmony, symmetry, and geometric precision of plant structures. His work blurred the lines between art and science, elevating botanical subjects to objects of aesthetic contemplation.Blossfeldt's photographs were not only valued for their artistic merit but also for their educational and instructional purposes. His images were widely used in the fields of botany, design, and architecture as references for artists, craftsmen, and students.After his death, Blossfeldt's photographs gained international recognition and were exhibited in galleries and museums worldwide. His influential book "Urformen der Kunst" (Art Forms in Nature), published in 1928, became a seminal work in the realm of botanical photography.Karl Blossfeldt's meticulous and artistic approach to capturing the intricate beauty of plant forms has had a lasting impact on the fields of photography, botany, and design. His photographs continue to inspire and fascinate viewers, revealing the captivating patterns and forms that exist within the natural world.Measures 18 x 24.

A pair of colour botanical prints after Fabrice de Villeneuve - depicting row of flowering bulbs in antique jardinières, gilt framed, 62.5 x 52.5 cm overall.

A Castleford Style Salt Glazed Teapot and Cover, moulded with classical scenes and foliage within blue bands, 16cm high; A Spode Felspar Porcelain 'Botanical' plate, 22cm diameter, a Derby plate painted with birds and insects, a two-handled dish, plate, sucrier and cover, etc. (A Lot)teapot with chip to spout, teacup trio with rub to gilt, all plates with rub to gilt, two handled dish with repaired handle and ships to rim

A Collection of Rockingham Porcelain, to include: a pair of plates and a dish in pattern 836 with floral sprigs within grey and gilt borders, a pair of Cornflower pattern plates, a plate painted with a botanical study and another in grey and gilt with flowers and butterflies, printed marks. (7)

A VICTORIAN BRASS-BOUND ROSEWOOD ARTIST'S PAINT BOX BY REEVES AND SONS, LONDON Containing an array of watercolour paint blocks, brushes and associated tools, with wells for ceramic and glass mixing vessels, ink bottles etc., a flush drawer beneath containing further paint blocks and two palettes, the lid with tooled Morocco flap compartment housing a botanical study by E. Bromfield, a colour chart and paper label stating that this was Robert Wright's Paint Box, circa-1855 Condition Report:Available upon request

Ten Georgian botanical studies of plant and flower species, watercolour tinted lithographs, uniformly framed in card mounts and gilt frames under glass, 22 cm x 31 cm overall

A set of six Victorian Royal Worcester hand-painted and gilt enriched lepidoptera, botanical and insect pattern dessert plates, impressed marks, 23 cm diameter

A SET OF SIX FRAMED AND GLAZED BOTANICAL ENGRAVINGS

Stamps; Over Two Hundred and Twenty Queen Elizabeth II Great Britain First Day Covers dating from early 1960s to 1988, housed in three cover albums. Includes many attractive 'Stuart' and 'Philart' covers, plus a few earlier 'GPO' covers including 'Botanical Congress' and 'Shakespeare Festival', etc.

Stamps: A Large Thematic 'Botanical' Collection of Flowers, Plants, etc, housed in four loose leaf albums, four stock books, loose in packets, minisheets and covers.

Lowell Nesbitt (American, 1933-1993). Large oil on canvas painting titled "Two Irises on Black" depicting two blooming pink-red irises against a pure black background. Signed and titled along the verso.Provenance: Private Minnesota Collection.Lot Essay:born in Maryland, Lowell Nesbitt studied art throughout his scholarly career, eventually earning a Bachelor of Fine Arts degree from Temple University in Pennsylvania. Additionally, he studied stained glass and printmaking during a fellowship with the Royal College of Art in London. After serving in the United States Army for two years, he worked as a night watchman at The Phillips Collection before relocating to New York City to pursue his career as an artist.While he hosted his first exhibition at the Baltimore Museum of Art in 1958, it would not be until his 1964 debut at the Corcoran Gallery of Art that he would receive widespread recognition for his works. The botanical works displayed, much like the painting offered here, were influenced by Robert Indiana. Upon viewing some of Nesbitt's works in the preceding years, he suggested that Nesbitt should move from abstraction to realism, which would come to be the artist's forte.The photorealistic paintings - a term that Nesbitt fought against - would define his career. He established that his works covered a wide diversity of techniques and styles. He painted flowers, studio interiors, articles of clothing, x-ray figures, fruits and vegetables, caverns and ruins, and a plethora of other subjects.In addition to his painting career, he fostered relationships with some of the greatest artistic names of the 20th century including Andy Warhol, Roy Lichtenstein, Jasper Johns, Robert Motherwell, Larry Rivers, James Rosenquist, and Robert Mapplethorpe. His relationship with the latter caused some controversy when the Corcoran Gallery canceled an exhibition for being too explicit. Nesbitt publically revoked a $1.5 million bequest and gifted it instead to the Phillips Collection when the Corcoran Gallery refused to reinstall Mapplethorpe's works in a show of support.Unframed; height: 57 in x width: 39 1/2 in. Framed; height: 58 1/2 in x width: 41 in.

ROSSETTI (CHRISTINA)Time Flies: A Reading Diary, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Lisa Mary Wilson with Christina G. Rossetti's love', and dated 'May 27 1885' by Lisa on front free endpaper, ANNOTATED WITH 16 FINE BOTANICAL WATERCOLOUR ILLUSTRATIONS and ink and pencil annotations by Lisa Wilson, 2 four-leaf clovers mounted with paper tabs beside the entry for April 2, other actual pressed flowers or fauna loosely inserted, together with additional loose leaf with autograph inscription 'Lisa M. Wilson with Christina G. Rossetti's grateful love. St Valentine's Day 1888', publisher's decorative gilt cloth, hand-stitched jacket in white and gold-coloured thread over cream silk, presumably made by Lisa Wilson, the upper cover with design incorporating the initials 'C.G.R.[Christina Georgina Rossetti]' and 'I.H.S.', 8vo, S.P.C.K., 1885; Annus Domini: A Prayer for Each Day of the Year, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Dear Lisa M. Wilson with Christina G. Rossetti's love, New Year 1889' on the front free endpaper, 3 small silver gelatin print photographs captioned 'Convent of Annunciata' on verso, publisher's cloth, spine detached, split and with loss, 12mo, Oxford and London, James Parker & Co., 1874; The Face of the Deep: A Devotional Commentary on the Apocalypse, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'With much love to my Lisa* Christina G. Rossetti's dear friend May 4 1892' on the front free endpaper, 8pp. advertisements at end, pressed flower with ribbon pasted to a sheet of paper loosely inserted, publisher's cloth, 8vo, S.P.C.K., 1892; Verses, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Dear Lisa Wilson from Christina G. Rossetti, September 25 1893' on the front free endpaper, publisher's blue buckram, t.e.g., 8vo, S.P.C.K., 1893 (4)Footnotes:POIGNANT ASSOCIATION COPIES INSCRIBED BY ROSSETTI TO LISA WILSON, Christina's 'Fior-de-Lisa', an aspiring poet who was Rossetti's 'most important admirer... close friend and companion' (Jan Marsh, Christina Rossetti. A Literary Biography, 1994, p.538). Having been deeply moved on reading Rossetti's poetry Wilson struck up a correspondence with her in the early 1880s before, on 27 May 1885, paying a visit to the poet at Torrington Square to collect an inscribed copy of Time Flies from the author. 'From that point on, Wilson came to call quite often. Concerning the last years of his sister's life, the years following her mother's death in 1886, William Michael Rossetti writes, 'In these painful years one of the friends whom Christina saw with most satisfaction was Miss Lisa Wilson; a lady accomplished in verse and sketching who had been drawn to my sister by her poetry, and viewed her with deep affection and reverential regard' (Diane D'Amico, 'Lisa Wilson: 'A Friend of Christina Rossetti'', The Journal of Pre-Raphaelite Studies, Vol. 10, Fall 2001, p.112). In 1896 Wilson published her own volume of lyric poetry, titled Verses, which she dedicated to 'To the sweet and gracious memory of Christina G. Rosetti, who honoured me with the name of friend', and in which the poem 'First Meeting' recalls lovingly the May day on which they first met. Our copy of Time Flies, the very book that brought them together, is handsomely decorated with botanical watercolours by Wilson (see lot 120). Besides many of the poems Wilson has put dates, presumably of meaning to her, including for instance 'C.G.R. 1885' beside the poem for 27 May commemorating the first meeting, and '1894' with 17-lines of poetry ('In the octave of my Christmas my love fell asleep...') beside the poem for 29 December, the date of Christina's death. Other annotations include a pencil correction to a poem (May 1) on the Feast of St. Philip, noting 'Philip the Evangelist - not the Apostle dear Christina!', and beside the entry for 4 April two four-leaf clover 'pressed specimens gathered in Cornwall, which Christina inserted into the volume' (Marsh, ibid, p.538).Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

DARWIN (CHARLES)On the Origin of Species by Means of Natural Selection, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed in a secretarial hand 'Dr. Weddell/ Bagnères-de-Bigorre/ from the author' on the front free endpaper, half-title (verso with quotations by Whewell and Bacon only), folding lithographed diagram by W. West, 32pp. publisher's catalogue dated June 1859 bound at end (Freeman's form 3, no priority), light marks and spots on preliminary leaves, occasional light single spots to text, publisher's green cloth, spine gilt (Freeman variant b, no priority), light brown endpapers, corners and spine ends slightly bumped, lower cover with a few minor marks and light small dampstain in upper gutter corner (showing as small v-shaped shadow to lower endpapers) [Freeman 373; Garrison-Morton 220; Norman 593; PMM 344], 8vo, John Murray, 1859Footnotes:FINE COPY OF AN AUTHOR'S PRESENTATION COPY OF THE FIRST EDITION OF 'THE MOST IMPORTANT SINGLE WORK IN SCIENCE' (Dibner), and 'a turning point... in the history of ideas in general' (DSB).Dr H.A. Weddell's name appeared on the manuscript list of persons to receive copies of the first edition of Origin of Species drawn up by Darwin sometime between August and October 1859. Weddell was a distinguished British-born botanist and physician who spent his entire career in France or in the service of France in South America. As early as 1856 Darwin had consulted Weddell's monograph on the Urticaceae 'when he was calculating the number of species and varieties in large and small genera' (Darwin Correspondence, Vol. 8, p.569). DCP cites a letter sent by Weddell to Darwin on 13 May 1863, in which he discusses searching for Ophrys (bee orchids) locally, fertilisation, and other botanical matters suggested by a reading of Darwin's On the Various Contrivances by Which British and Foreign Orchids Are Fertilised by Insects, a copy of which he was sent in 1862.Weddell's death in 1877 opened up a place in the botanical section of the Académie des Sciences. Darwin had twice applied unsuccessfully to be a corresponding member; on 5 August 1878, at last, the secretaries wrote to him inviting him to take up the position left by Weddell (DCP).Provenance: Hugh Algernon Weddell (1819-1877), presentation inscription from the author; Louis Devergne, neat ink ownership inscription on front free endpaper. Presumably this the Louis Devergne (1891-1941), who was archpriest at Loudon, some 40 miles from Poitiers where Weddell had died; private French owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

MOORE (THOMAS)The Ferns of Great Britain and Ireland... edited by John Lindley... Nature-printed by Henry Bradbury, half-title, 51 nature-printed plates, all printed in colours by Bradbury & Evans, spotting (heavier to titles and 9 plates), contemporary half morocco, upper cover detached, losses to spine [Nissen BBI 1400; Pritzel 6405; Stafleu & Cowan 6275], folio (550 x 360mm.), Bradbury and Evans, 1855[-1856]Footnotes:The 'first English attempt at applying Nature-Printing to Botanical sciences' (Preface), the author explaining that previously, in order to convey 'the necessary accuracy, the art of a Talbot or a Daguerre was insufficient, nor could they be represented pictorially until Nature-Printing was brought to its present state of perfection'. The plates were executed by Henry Bradbury (1831-1860), who had learned the process whilst studying under Alois Auer at the Imperial Printing Office in Vienna.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ROSSETTI (CHRISTINA)Autograph poem 'On Occasion of her Book to my Fior-di-Lisa' signed ('Christina G. Rossetti'), 8 lines beginning 'The Rose is Love's own flower – And Love's no less/ The Lily's loftiness...', affixed to the flyleaf of a volume of thirteen manuscript poems dedicated to Christina Rossetti, composed, written and illustrated by her close friend Lisa Wilson, beginning 'To Christina, My Dearest Friend', and including the poems 'Consecrations', 'Of My Lady', 'Her Birthday', and 'For Love's Sake', finely decorated in watercolour throughout with flowers such as forget-me-nots, honeysuckle and blossoms, 13 leaves of watercolour paper, printed gilt floral endpapers, vellum, ruled in gilt with initials 'C.G.R.' on upper cover, 8vo (178 x 125mm.), [1892]; with a separate autograph fair copy of Rossetti's poem titled 'In honour of her Book, and still/ more of my own/ Fior-di-Lisa' signed with initials ('C.G.R.') on a bifolium, one page, 8vo (175 x 111mm.), [?1892]; and group of associated ephemera including a cabinet photograph of Lisa Wilson and two botanical watercolours signed 'Helen Rossetti' (small group)Footnotes:'TO MY FIOR-DI-LISA': A VOLUME OF ILLUSTRATED POEMS DEDICATED TO CHRISTINA ROSSETTI BY HER CLOSE FRIEND, WITH TWO COPIES OF ROSSETTI'S VERSE WRITTEN IN RESPONSE. This beautifully decorated vellum-bound volume was presented by Lisa Wilson to Christina Rossetti in 1892, soon after Rossetti's operation for breast cancer in May of that year, and bound in haste when it was thought that she had not long to live. The women had corresponded since the 1880's when Lisa Wilson '...a very invalidish girl, obliged to lie down a great deal...' (Mary F. Sanders, The Life of Christina Rossetti, London, 1930, p.254) wrote Rossetti an admiring letter. They finally met in 1885 when Christina offered to send her a copy of her new book Time Flies (see lot 118). Grasping the opportunity to meet in person, Lisa collected the book herself, thus beginning a close lifelong friendship, becoming her '...most important admirer... close friend and companion...' (Jan Marsh, Christina Rossetti, a Literary Biography, 1994, p.538). The moment is captured in her poem 'The Meeting' included here ('...let me recall the time when we first met... you came and let my hands clasp yours... Your lips, with their sweet melancholy curve and rare swift smile. Your musical low voice Thrilled through me...'). Rossetti herself was less poetic at the prospect of their meeting: 'Don't expect me to be as nice as my poems or you will be disappointed', she had written (Marsh, p.538).The collection of intense love poems, religious verses and thoughts on death has been described as '...the most public statement Wilson made of her love for Rossetti...' (Diane D'Amico, 'Lisa Wilson: 'A Friend of Christina Rossetti'', The Journal of Pre-Raphaelite Studies, Vol. 10, Fall 2001, p.118). D'Amico argues that the poems must, however, be read in the context of female friendship at a time when intense expressions of love between women were allowed without being interpreted as sapphic, and that they can also be seen in the concept of a spiritual friendship that brought them closer to God, with Rossetti as Lisa's spiritual guide: '...Wilson's love for Rossetti and her poetry inspired by this love are influenced by a religious faith that allowed for such a concept of friendship...' (D'Amico, p.121). After Rossetti's death, Lisa requested William Michael Rossetti return the volume, in which Christina had inscribed a short verse dedicated to her, and inserted at the front of the book. 'Fior-Di-Lisa' casts Lisa as a lily and herself as a rose, and the book is full of the symbolic language of flowers through which their friendship was communicated. The poem was published in New Poems by Christina Rossetti, edited by William Michael Rossetti in 1896.As well as requesting the return of our volume, she also burned all Christina's correspondence and, apart from publishing these poems, never commented about a friendship she considered sacred, thinking it was enough, and indeed a privilege, to be remembered merely as Rossetti's friend. All the poems inscribed here, apart from the preface 'To Christina' were included in Lisa Wilson's only published work, Verses, of 1896, in which she revealed her pseudonym Christina Grey, under which she may have published other work. Whilst their close relationship is acknowledged by biographers, and our volume consulted by them, further detail is scarce and she is depicted as a rather shadowy figure of whom little is known. Diane D'Amico has put this deficiency right in her comprehensive essay 'Lisa Wilson: 'A Friend of Christina Rossetti'', (ibid, pp.109-129), where she talks about Lisa and our volume in detail. D'Amico identifies her as Mary Louisa Wilson (1850-1934), the daughter of a solicitor from Oundle. She remained unmarried and lived with her widowed mother and brother as companion and housekeeper in Gilston Road, London. A devout Christian, she was a regular attendee at her local church, St Mary's The Boltons, and devoted much time to visiting the poor and sick. She moved to Cornwall after the death of her sisters and her good friend Maude Corkran, and spent the last years of her life in Penzance. The book was passed on to her god-daughter Christina Corkran, and has remained in the family since then.Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A mixed lot to include the Botanical Garden bowl and a jug, a ceramic floral lamp, crystal cut glassware and other itemsLocation:

Ephemera, a mixed selection of 100s of items to include greetings cards (lace, novelty), prints, engravings, original artwork (approx. 60), book plates, photographs, fashion plates, botanical plates and more (gen gd)

An Australian silver caddy spoon. John Harris (Harris & Son), Perth (Western Australia), Mid 20th century. Stamped 925, the parcel gilt terminal decorated with three flowers of Geraldton Wax, the handle engraved to reverse with name of the botanical species, 12.7cm long, in fitted case. Together with a group of British silver items, comprising: two George III Fiddle pattern serving spoons, London, 1809, Thomas Wilkes Barker, engraved with initial and crest to terminal, 22cm long; a small Victorian cream jug, Birmingham, 1897, Elkington & Co., with half lobed body, on an oval foot, 10.7cm wide; a further cream jug, Birmingham, 1911, Joseph Gloster, the half lobed body raised on an oval foot, 7cm high (inc. handle); a salt cellar, Birmingham, 1919, Abrahams Brothers, of circular form, on three paw feet, with clear glass liner, 9.5cm dia.; and a small Victorian trowel (handle deficient), London, 1882, 11cm long, total weighable silver approx. 9.9ozt (7)  Footnotes: Harris & Son is a family firm founded in Perth, Western Australia, in 1921 by the brothers Charles and Harold who relocated there from England. The business specialized in producing works of silverware and gold jewellery. From the 1950s, the works produced often featured the unique wildflowers of Western Australia. The Harris' creations are enjoyed by royalty and heads of state around the world. Some spoons produced by the firm are part of the collection of the National Gallery of Australia in Canberra. Condition Report: The silver salt cellar with liner is not included in the weighable silver. The caddy spoon stamped HARRIS & SON STE.SIL 925 GERALDTON WAX to reverse. 

Five botanical plates, decorated with various flowers with a green and gilt border. Diameter 23 cm.

Three Royal Copenhagen porcelain Botanical plates, each decorated with a botanical specimen and titled to the reverse in black 'Papaver Argemone L' 'Veronica monlana L' and ' Conium maculalum L', wave marks in underglaze-blue, printed marks in green, each 25.7cms diameter. (3)

English School (19th century)Ornithological and Botanical Study, A Bird on a Flowering Branchwatercolour, 29cm x 26cm