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Click here to subscribeBOTANICAL BOOKS; to include THE FLORICULTURAL CABINET AND FLORISTS’ MAGAZINE, vol 5 only, hand coloured plates, MAWE (T), GARDENER‘S CALENDAR, 1818; RHIND (W), A HISTORY OF THE VEGETABLE KINGDOM, hand coloured plates and other illustrations, binding defective and ex-Seed Trial Department, 1855; THOMPSON (R), THE GARDENER’S ASSISTANT, colour plates, 1888 (Quantity)
Framed botanical vintage print Pink Rose (Rosa Centifolia Anemonoide )Pierre-Joseph Redouté (1759 –1840), was a painter and botanist from the Netherlands. He was one of the greatest botanical artists of the early 19th century. Redouté was a court artist of Queen Marie Antoinette. He gain international fame for his precise renderings of plants. Redouté collaborated with the greatest botanists of his day. He contributed to about fifty publications about flowers and fruit. These depicted both the familiar flowers of the French court and plants from places as distant as Japan, America, South Africa, and Australia gallery label verso 33 x 42cm
Framed botanical vintage print Rosa alla Regalis Pierre-Joseph Redouté (1759 –1840), was a painter and botanist from the Netherlands. He was one of the greatest botanical artists of the early 19th century. Redouté was a court artist of Queen Marie Antoinette. He gain international fame for his precise renderings of plants. Redouté collaborated with the greatest botanists of his day. He contributed to about fifty publications about flowers and fruit. These depicted both the familiar flowers of the French court and plants from places as distant as Japan, America, South Africa, and Australia gallery label verso 33 x 42cm
Framed botanical vintage print Pink Rose (Rosa Muscosa Multiplex)-Joseph Redouté (1759 –1840), was a painter and botanist from the Netherlands. He was one of the greatest botanical artists of the early 19th century. Redouté was a court artist of Queen Marie Antoinette. He gain international fame for his precise renderings of plants. Redouté collaborated with the greatest botanists of his day. He contributed to about fifty publications about flowers and fruit. These depicted both the familiar flowers of the French court and plants from places as distant as Japan, America, South Africa, and 33 x 42cm
A set of twenty four 19th century coloured botanical prints of flower specimens mounted with later framesprobably taken from Wiliam Curtis's Botanical Magazine, the plates variously numbered and bearing date 1804, mounted within silvered rectangular glazed frames, 26cm x 17cm overall approximately (24)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
2 botanische Blattmodelle im Längs- und Querschnitt, um 1920 Tschechoslowakei, ca. 1500-fache Vergrößerung, Darstellungen der mikroskopischen Feinstrukturen des Blattes, teilweise zerlegbar, Gips, Maße 46 x 20 x 21,5 cm und 33 x 18 x 19,5 cm. Start Price: EUR 100 Two Botanical Leaf Models, c. 1920 Czechoslovakia, segmented plaster models showing the microscopic fine structures in length and cross sections, magnification approx. 1500x, dimensions 18 x 7 4/5 x 8 ½ in. and 13 x 7 x 7 ½ in. Start Price: EUR 100
Muriel Kemp (20th Century)Still life depicting grapes and leavesWatercolour, inscribed to verso, 30cm by 40cm; together with a similar botanical watercolour; a watercolour colour landscape of Bamburgh Castle, signed G. Teesdale; and a 20th century oil on canvas of a mountainous river landscape (4)
[ROUPELL (ARABELLA E.)]Specimens of the Flora of South Africa by a Lady, FIRST EDITION, list of subscribers (103 names subscribing for 111 copies), dedication leaf to Nathaniel Wallich, hand-coloured lithographed pictorial title, 8 hand-coloured lithographed plates, large hand-coloured tailpiece vignette by P. Gauci after Roupell, a letter from the Regensburg Botanical Society loosely inserted [see footnote], occasional spotting (heavier to plate 6), original full purple morocco gilt, covers with elaborate borders tooled in blind and gilt, enclosing a gilt title ('Cape Flowers by a Lady') within a floral wreath on the upper cover, lettered in gilt on spine, g.e., rubbed [Great Flower Books 134; Mendelssohn II:254; Nissen BBI 1687; Stafleu-Cowan 9684], folio (774 x 452mm.), [Printed by W. Nichol, Shakespeare Press, 1849]Footnotes:Arabella Roupell was resident in South Africa between 1843 and 1845, where she was encouraged in her botanical paintings by Nathaniel Wallich (1785–1854), superintendent of the Royal Botanic Gardens, Calcutta, who happened to be on leave at the Cape at the time. He also 'assisted in the collection and identification of the various species which she painted... [and persuaded her] to allow him to take some [of her studies] to England, with a view to their being published. In England he showed them to the director of Kew Gardens, Sir William Hooker, who was struck by their beauty and accuracy' (ODNB). When published Roupell's fine plates were accompanied by descriptions written by William Harvey, curator of the herbarium at Trinity College, Dublin.Loosely inserted is a letter addressed to Roupell ('Madame!'), sent on behalf of the Bavarian Society for Botany at Ratisbon [Regensburg Botanical Society], praising 'The publication, with which you have enriched also my own library, has won the admiration of botanist, who saw it, by the truth and the elegance of your splendid pensil [sic]...', and announcing that the Society 'feels particular satisfaction in bearing testimony of your scientific art by a Diploma...', dated Munich, 3 September 1851, and signed 'Dr. Martius'. This Martius is presumably Theodore (1796-1863), son of Ernest Martius (died 1849), the co-founder of the Society. ODNB records this event noting that Roupell's 'skill as a botanical artist was recognized in Germany by her election as a member of the Regensburg Society of Arts. In 1857 the Swiss botanist, Meissner, named a species of Protea, roupelliae, after her.'Provenance: Gifted by Elizabeth Chute Roupell, the artist Arabella's daughter-in-law, to Illtyd Buller Pole-Evans (Welsh-born South African botanist, 1979-1968) on 28 September 1935, inscription pasted on front free endpaper. Beneath this inscription is another, 'The authoress of this work was Mrs. T.B. Roupell, wife of a Madras civilian. This book belonged as Major-General Francis Archibald Reid C.N. of the Madras army who was much interested in botany. Catherine Anne Reid', and then signed by Pole Evans too. Arabella's husband Thomas was an official with the East India Company, posted in Madras both prior and after their several sojourns in South Africa.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
WHITE (GILBERT), SELBORNE AND THE HOLT-WHITE FAMILYAn archive of books, watercolour and scrap albums, photographs, portrait miniatures, silver and other ephemera relating to the White, and Holt-White families, including: HOLT-WHITE (RASHLEIGH) The Life and Letters of Gilbert White of Selborne, 2 vol., AUTHOR'S COPY, EXTRA-ILLUSTRATED with c.55 additional plates (of which approx. 20 photographic, including images of the Selborne Great Oak, the house, etc.), several autograph letters by later family members, and manuscript receipts of eighteenth century, green half morocco gilt, by F.T. Neale of Hastings, John Murray, 1901Silver tray, with the arms of Rebecca White (nee Luckin, 1664-1755) who married the vicar of Selborne in 1687, together the grandparents of Gilbert White (1720-1793), diameter 256mm., hallmarked John Robinson, 1746Album, with artwork attributable to Mary (b.1809), Caroline (b.1811) and Anna Holt-White (b.1813) and other family members, approx. 42 pencil drawings, 18 watercolours (botanical, costume, portraits), of which many signed with initials, 1 gouache of Switzerland, 4 watercolours on rice paper, mostly mounted one per page, contemporary morocco, covers detached, 4to, [c.1832-1840]Album, belonging to Louisa Rose White (1804-1870), approx. 155 mounted engraved or lithographed views of British scenes (including one of White's residence at Selborne), loosely inserted a lithographed plan with view of the Selborne Estate issued for the auction held by George Robins on 28 July 1840, contemporary half morocco, rebacked, folio, [c.1840]Album, associated with Algernon Holt-White (1807-1880), with newspaper cuttings, printed ephemera (electioneering, schools projects, etc), architectural drawings (including 'Plan of the Intended Lodge at... Clements Hall, the Residence of A.W. Holt' signed by G.B. Crowes, Surveyor, 1842), all loose, original calf, worn, folio, [1840/50s]A collection of approximately nine portrait miniatures, mostly of members of the Holt-White family, mostly mounted, framed and glazed, various sizes, [late nineteenth-early twentieth century]Miscellaneous others, including 2 twentieth century albums of watercolours, an album of nineteenth century cuttings with a signed document by Leon Gambetta, approximately 40 albumen and silver gelatin photographs, etc. (collection)For further information on this lot please visit Bonhams.com
A quantity of framed and glazed paintings and prints, to include Lynda Brown Nabanunga - 'Waterhole Dreaming' and Jule Nabangardi Sheddon - 'Bush Tucker', two Australian aboriginal dream paintings; Ray G Lewis - two miniature watercolour paintings of a butterfly and flowers, four prints of London scenes, six botanical flower prints, and others Location: LWF
A rare Compton Stoneware garden bird bathEarly 20th century, the moulded octagonal shallow bowl top above a tapering column and lobed knopped base, set on an octagonal plinth, 97cm high x 47cm wide.Footnote: Footnote: A Compton stoneware garden sundial with the same design of column and base as the present lot was sold at Summer's Place Billingshurst rooms, 20 May 2014.Founded by Mary Watts, wife of the painter George Frederick Watts, in 1895, The Compton Potters Art Guild was located in the village of Compton, near Godalming, Surrey. The Watts were strong advocates of the Home Arts and Industries Association, a movement launched by Earl Brownlow in 1885 to revive the art of handicraft among the working classes. The Pottery Art Guild developed quickly, winning medals at the Royal Botanical Society and the Home Arts highest accolade, the gold cross. Their garden ornaments were sold by Liberty's and they received architectural commissions from Edwin Lutyens, Clough William-Ellis and Goodhart Rendel.Condition report: Surface lichen and weathering overall. The top has two chips to the lower rim and a hairline to the underside. Also on the top there is a small hole near the outer edge, possibly an air bubble during manuracture, and there is a very small area of fritting near the outer edge. The capital appears good. The stem has a few small flat chips at the top. The base and foot have some small surface chips. Please refer to images.
Oliver (D), ILLUSTRATIONS OF THE PRINCIPAL NATURAL ORDERS OF THE VEGETABLE KINGDOM, botanical illustrations by W H Fitch to one hundred and nine hand coloured plates, Chapman And Hall, London 1874 (at fault) CONDITION REPORT:All plates and text pages present. Most text pages bound in, but most plates loose. Binding loose overall. Plates generally relatively clean with reasonably bright colours. Lacking covers and spine.
J.C. Weber: 'Die Alpen Pflanzen Deutschlands und der Schweiz', Munich, Kaiser, 1880, volumes 1, 3 & 4 (of 4), 300 coloured plates of flowers, small 8vo, uniform original publisher's cloth gilt; plus two well executed 19th Century hand painted botanical plates, with an old m/s note attributing them to Catherine Ransome & Jane Bedford Browning (5)
A Coalport botanical dessert service, circa 1835, by Joseph Birbeck pattern 3/160, the floral specimens within gilt edged Rococo cartouches to cobalt blue borders with gilt scroll rims, comprising six plates, two leaf shaped dishes, a shaped oval dish, a shaped rectangular dish and a tazza CONDITION REPORT: The comport has two cracks to the foot and small areas of staining around the central hollyhock spray in the bowl. Comport is loose on base. Rectangular dish cracked and stained. Two plates cracked and one with rim chip. Gilding rubbed in places throughout
British built, right-hand drive, Plymouth P6 marketed in the UK as the 'Chrysler Wimbledon'.The 'Wimbledon' was essentially a British version of an American car assembled at Chrysler’s factory near the Royal Botanical Gardens in KewPlymouths were imported in kit form from Michigan, assembled at Kew, and converted to right-hand driveThey were further Anglicised by renaming them after London suburbs, so the Plymouth P6 became a Kew (2.8-litre) or Wimbledon (3.3-litre)The Plymouth was going to keep its name until Chrysler’s market research revealed that the town was not well thought of over here, being associated with drunken sailors. No idea where that came from!This 1938, two-seater convertible benefits from a dickey seat to the rear - ideal for the mother in law!The car's late owner purchased the Chrysler in 2002 when it had already been restored Beautifully finished in Primrose with black wings and a tan hood, the interior has been retrimmed in brown vinyl Powered by Chrysler's 3.3-litre, 6-cylinder engine mated to a 3-speed manual gearbox this provides sprightly performance and a wonderful exhaust note. SpecificationMake: PLYMOUTHModel: P6 'CHRYSLER WIMBLEDON' CONVERTIBLEYear: 1938Chassis Number: P60/4272/10548524Registration Number: EYU 429Transmission: ManualEngine Number: P6145305Drive Side: Right-hand DriveMake: RHDInterior Colour: Brown Vinyl
A collection of 12 similar-themed prints to include six limited edition Natural History Museum botanical prints from the series "The Rare Fruit Illustrations of Pierre-Joseph Redoute", each numbered 180/7500, housed in distressed gilt and glazed frames together with a similar set of 6 limited edition prints 'The Fairest Flowers of Pierre-Joseph Redoute' all 151/75-00 sets. Largest 38 x 31cm inc frames. 12 in total.
Royal Copenhagen, Denmark. Set of twelve Flora Danica botanical porcelain reticulated dinner plates, shape number 20 3526. Each marked along the underside with the blue wave and green printed marks. Each hand painted with the Latin name of the botanical specimen depicted, which include the following: Ajuga reptans L., Stachys annuus L., Pyrethrum inodorum [beta] maritimum, Taraxacum ceratophorum D.C., Rubus vestitus Whe. N.E., Anemone vernalis Mill., Rhinanthus Crista galli L., Anemone Hepatica L., Rosa canina var. opaca Fr., Viola mirabili x silvatica P. Nielsen, Helianthemum oelandicum L., and Draba hirta L.The story of Flora Danica porcelain begins in an unexpected place--with the publication of the first complete botanical encyclopedia of Danish plants. In 1752, G.C. Oeder (1728-1791), a medical doctor and scientist, was appointed head of the newly created Royal Botanical Institution in Copenhagen. One of his first actions was to propose an ambitious project: a thorough catalog of the flora in Denmark and surrounding areas, profusely illustrated and with characteristic and taxonomic details in order to help the plants be financially useful to the nation. Oeder and a team of botanists spent years observing and illustrating plants in the field, and in 1861 the first volume of the Flora Danica was published. Twelve other editors presided over the project until the final volumeÃs publication in 1883. Flora Danica was a masterwork, notable for its contribution to the science of botany, but also for its stunning illustrations.Denmark had been a Russian ally in the Russo-Swedish War of 1788-1790. However, the Danish succumbed to pressure from Great Britain and Prussia and declared neutrality early in the conflict, failing to perform their duty as allies. Following this, King Christian VII of Denmark (1749-1808) needed a way to make amends with Empress Catherine the Great of Russia (1729-1796). He decided to give her a fabulous gift. Since Catherine was known for collecting porcelain, he decided upon a luxurious dinner service the likes of which the world had never seen. And what better subject for the decoration of this porcelain service than the illustrations from the Flora Danica, a scientific triumph and celebration of DenmarkÃs natural richness?In 1790, the king commissioned the Royal Danish Porcelain Manufactory (now known as Royal Copenhagen) to create a 100 setting dinner service decorated after the illustrations in the Flora Danica. Johann Christoph Bayer (1738-1812), an artist who had worked on the illustrations for the books, was hired to paint the porcelain pieces. He single handedly painted an incredible 1,802 pieces of porcelain before production was completed in 1802. However, by the time the service was ready, Catherine the Great had died. The service stayed in Denmark, where it became a national treasure, used by the royal family on important state occasions and displayed in DenmarkÃs palaces and museums.In 1863, Royal Copenhagen decided to revive the pattern. In keeping with the original Flora Danica service, each piece of porcelain was painstakingly hand molded and decorated. The pattern has continued to be made to order in this way ever since. Each piece has been hand carved, the delicate floral forms molded, glazed, painted, and gilded by a team of Danish artisans. The buyer is able to choose which plants they would like on their service, making each set uniquely personal. Each piece has the Latin name of the plant depicted inscribed along the underside. Each piece, through its craftsmanship and individuality, tells a story of groundbreaking scholarship, royal politics and diplomacy, and the patron of each commissioned set.Each; Height: 1 1/4 x diameter: 10 3/4 in.
Royal Copenhagen, Denmark. Set of twelve Flora Danica botanical porcelain flat rim soup plates, shape number 20 3545. Each marked along the underside with the blue wave and green printed marks. Each with the Latin name of the botanical specimen depicted along the underside, which include the following: Saxifraga nivalis L., Orchis sambucina L. f. incarnata., Pyrola grandiflora Rad., Chimaphila umbellata, Viola odorata L., Viola canina L., Orchis sambucina L. f. incarnata., Epilobium latifolium L., Trifolium alpestre L., and Potentilla emarginata Pursh.The story of Flora Danica porcelain begins in an unexpected place--with the publication of the first complete botanical encyclopedia of Danish plants. In 1752, G.C. Oeder (1728-1791), a medical doctor and scientist, was appointed head of the newly created Royal Botanical Institution in Copenhagen. One of his first actions was to propose an ambitious project: a thorough catalog of the flora in Denmark and surrounding areas, profusely illustrated and with characteristic and taxonomic details in order to help the plants be financially useful to the nation. Oeder and a team of botanists spent years observing and illustrating plants in the field, and in 1861 the first volume of the Flora Danica was published. Twelve other editors presided over the project until the final volumeÃs publication in 1883. Flora Danica was a masterwork, notable for its contribution to the science of botany, but also for its stunning illustrations.Denmark had been a Russian ally in the Russo-Swedish War of 1788-1790. However, the Danish succumbed to pressure from Great Britain and Prussia and declared neutrality early in the conflict, failing to perform their duty as allies. Following this, King Christian VII of Denmark (1749-1808) needed a way to make amends with Empress Catherine the Great of Russia (1729-1796). He decided to give her a fabulous gift. Since Catherine was known for collecting porcelain, he decided upon a luxurious dinner service the likes of which the world had never seen. And what better subject for the decoration of this porcelain service than the illustrations from the Flora Danica, a scientific triumph and celebration of DenmarkÃs natural richness?In 1790, the king commissioned the Royal Danish Porcelain Manufactory (now known as Royal Copenhagen) to create a 100 setting dinner service decorated after the illustrations in the Flora Danica. Johann Christoph Bayer (1738-1812), an artist who had worked on the illustrations for the books, was hired to paint the porcelain pieces. He single handedly painted an incredible 1,802 pieces of porcelain before production was completed in 1802. However, by the time the service was ready, Catherine the Great had died. The service stayed in Denmark, where it became a national treasure, used by the royal family on important state occasions and displayed in DenmarkÃs palaces and museums.In 1863, Royal Copenhagen decided to revive the pattern. In keeping with the original Flora Danica service, each piece of porcelain was painstakingly hand molded and decorated. The pattern has continued to be made to order in this way ever since. Each piece has been hand carved, the delicate floral forms molded, glazed, painted, and gilded by a team of Danish artisans. The buyer is able to choose which plants they would like on their service, making each set uniquely personal. Each piece has the Latin name of the plant depicted inscribed along the underside. Each piece, through its craftsmanship and individuality, tells a story of groundbreaking scholarship, royal politics and diplomacy, and the patron of each commissioned set.Each; Height: 1 3/4 in x diameter: 9 3/4 in.
Royal Copenhagen, Denmark. Set of twelve Flora Danica botanical porcelain reticulated luncheon plates, shape number 20 3554. Each marked along the underside with the blue wave and green printed marks. Each inscribed with the Latin name of the plant depicted, including: Potentilla emarginata Pursh., Viola odorata L., Viola hirta L., Hippophae rhamnoides L., Rosa tomentosa Sm., Antennaria carpathica (Wahlenb.) Bl. et Fgh., Viola epipsila Ledeb., Viola biflora L., Crambe maritima L., Polemonium humile Willd., Senecio Jacobaea L., and Erigeron eriocephalus J. Vahl.The story of Flora Danica porcelain begins in an unexpected place--with the publication of the first complete botanical encyclopedia of Danish plants. In 1752, G.C. Oeder (1728-1791), a medical doctor and scientist, was appointed head of the newly created Royal Botanical Institution in Copenhagen. One of his first actions was to propose an ambitious project: a thorough catalog of the flora in Denmark and surrounding areas, profusely illustrated and with characteristic and taxonomic details in order to help the plants be financially useful to the nation. Oeder and a team of botanists spent years observing and illustrating plants in the field, and in 1861 the first volume of the Flora Danica was published. Twelve other editors presided over the project until the final volumeÃs publication in 1883. Flora Danica was a masterwork, notable for its contribution to the science of botany, but also for its stunning illustrations.Denmark had been a Russian ally in the Russo-Swedish War of 1788-1790. However, the Danish succumbed to pressure from Great Britain and Prussia and declared neutrality early in the conflict, failing to perform their duty as allies. Following this, King Christian VII of Denmark (1749-1808) needed a way to make amends with Empress Catherine the Great of Russia (1729-1796). He decided to give her a fabulous gift. Since Catherine was known for collecting porcelain, he decided upon a luxurious dinner service the likes of which the world had never seen. And what better subject for the decoration of this porcelain service than the illustrations from the Flora Danica, a scientific triumph and celebration of DenmarkÃs natural richness?In 1790, the king commissioned the Royal Danish Porcelain Manufactory (now known as Royal Copenhagen) to create a 100 setting dinner service decorated after the illustrations in the Flora Danica. Johann Christoph Bayer (1738-1812), an artist who had worked on the illustrations for the books, was hired to paint the porcelain pieces. He single handedly painted an incredible 1,802 pieces of porcelain before production was completed in 1802. However, by the time the service was ready, Catherine the Great had died. The service stayed in Denmark, where it became a national treasure, used by the royal family on important state occasions and displayed in DenmarkÃs palaces and museums.In 1863, Royal Copenhagen decided to revive the pattern. In keeping with the original Flora Danica service, each piece of porcelain was painstakingly hand molded and decorated. The pattern has continued to be made to order in this way ever since. Each piece has been hand carved, the delicate floral forms molded, glazed, painted, and gilded by a team of Danish artisans. The buyer is able to choose which plants they would like on their service, making each set uniquely personal. Each piece has the Latin name of the plant depicted inscribed along the underside. Each piece, through its craftsmanship and individuality, tells a story of groundbreaking scholarship, royal politics and diplomacy, and the patron of each commissioned set.Each; Height: 1 in x diameter: 9 in.
Royal Copenhagen, Denmark. Pair of Flora Danica botanical porcelain vegetable bowls, shape number 20 3503. Both bowls depict the lily of the valley and are inscribed along the underside with the flower's Latin name, Convallaria Majalis L. Both marked along the underside with the blue wave and green printed marks.The story of Flora Danica porcelain begins in an unexpected place--with the publication of the first complete botanical encyclopedia of Danish plants. In 1752, G.C. Oeder (1728-1791), a medical doctor and scientist, was appointed head of the newly created Royal Botanical Institution in Copenhagen. One of his first actions was to propose an ambitious project: a thorough catalog of the flora in Denmark and surrounding areas, profusely illustrated and with characteristic and taxonomic details in order to help the plants be financially useful to the nation. Oeder and a team of botanists spent years observing and illustrating plants in the field, and in 1861 the first volume of the Flora Danica was published. Twelve other editors presided over the project until the final volumeÃs publication in 1883. Flora Danica was a masterwork, notable for its contribution to the science of botany, but also for its stunning illustrations.Denmark had been a Russian ally in the Russo-Swedish War of 1788-1790. However, the Danish succumbed to pressure from Great Britain and Prussia and declared neutrality early in the conflict, failing to perform their duty as allies. Following this, King Christian VII of Denmark (1749-1808) needed a way to make amends with Empress Catherine the Great of Russia (1729-1796). He decided to give her a fabulous gift. Since Catherine was known for collecting porcelain, he decided upon a luxurious dinner service the likes of which the world had never seen. And what better subject for the decoration of this porcelain service than the illustrations from the Flora Danica, a scientific triumph and celebration of DenmarkÃs natural richness?In 1790, the king commissioned the Royal Danish Porcelain Manufactory (now known as Royal Copenhagen) to create a 100 setting dinner service decorated after the illustrations in the Flora Danica. Johann Christoph Bayer (1738-1812), an artist who had worked on the illustrations for the books, was hired to paint the porcelain pieces. He single handedly painted an incredible 1,802 pieces of porcelain before production was completed in 1802. However, by the time the service was ready, Catherine the Great had died. The service stayed in Denmark, where it became a national treasure, used by the royal family on important state occasions and displayed in DenmarkÃs palaces and museums.In 1863, Royal Copenhagen decided to revive the pattern. In keeping with the original Flora Danica service, each piece of porcelain was painstakingly hand molded and decorated. The pattern has continued to be made to order in this way ever since. Each piece has been hand carved, the delicate floral forms molded, glazed, painted, and gilded by a team of Danish artisans. The buyer is able to choose which plants they would like on their service, making each set uniquely personal. Each piece has the Latin name of the plant depicted inscribed along the underside. Each piece, through its craftsmanship and individuality, tells a story of groundbreaking scholarship, royal politics and diplomacy, and the patron of each commissioned set.Each; Height: 2 in x diameter: 8 1/4 in.
Royal Copenhagen, Denmark. Set of eight Flora Danica botanical porcelain demitasse cups and saucers, shape number 20 3618. Each marked along the underside with the blue wave and green printed marks. The cups are inscribed along the underside with the Latin name of the species of plant depicted, including the following: Viola Muhlenergiana minor Hook, Lepidium groenlandicum Horn, Oxycoccus palustris Rupr., Teesdalia nudicaulis R.R., Potentilla retusa Rels, Diapensia lapponica L., Arabis Petraea (Alpha) Faeronsis Doland, and Epilobium alpinum L.The story of Flora Danica porcelain begins in an unexpected place--with the publication of the first complete botanical encyclopedia of Danish plants. In 1752, G.C. Oeder (1728-1791), a medical doctor and scientist, was appointed head of the newly created Royal Botanical Institution in Copenhagen. One of his first actions was to propose an ambitious project: a thorough catalog of the flora in Denmark and surrounding areas, profusely illustrated and with characteristic and taxonomic details in order to help the plants be financially useful to the nation. Oeder and a team of botanists spent years observing and illustrating plants in the field, and in 1861 the first volume of the Flora Danica was published. Twelve other editors presided over the project until the final volumeÃs publication in 1883. Flora Danica was a masterwork, notable for its contribution to the science of botany, but also for its stunning illustrations.Denmark had been a Russian ally in the Russo-Swedish War of 1788-1790. However, the Danish succumbed to pressure from Great Britain and Prussia and declared neutrality early in the conflict, failing to perform their duty as allies. Following this, King Christian VII of Denmark (1749-1808) needed a way to make amends with Empress Catherine the Great of Russia (1729-1796). He decided to give her a fabulous gift. Since Catherine was known for collecting porcelain, he decided upon a luxurious dinner service the likes of which the world had never seen. And what better subject for the decoration of this porcelain service than the illustrations from the Flora Danica, a scientific triumph and celebration of DenmarkÃs natural richness?In 1790, the king commissioned the Royal Danish Porcelain Manufactory (now known as Royal Copenhagen) to create a 100 setting dinner service decorated after the illustrations in the Flora Danica. Johann Christoph Bayer (1738-1812), an artist who had worked on the illustrations for the books, was hired to paint the porcelain pieces. He single handedly painted an incredible 1,802 pieces of porcelain before production was completed in 1802. However, by the time the service was ready, Catherine the Great had died. The service stayed in Denmark, where it became a national treasure, used by the royal family on important state occasions and displayed in DenmarkÃs palaces and museums.In 1863, Royal Copenhagen decided to revive the pattern. In keeping with the original Flora Danica service, each piece of porcelain was painstakingly hand molded and decorated. The pattern has continued to be made to order in this way ever since. Each piece has been hand carved, the delicate floral forms molded, glazed, painted, and gilded by a team of Danish artisans. The buyer is able to choose which plants they would like on their service, making each set uniquely personal. Each piece has the Latin name of the plant depicted inscribed along the underside. Each piece, through its craftsmanship and individuality, tells a story of groundbreaking scholarship, royal politics and diplomacy, and the patron of each commissioned set.Cups (each); Height: 2 1/4 in x diameter: 2 1/2 in. Saucers (each); Height: 1 in x diameter: 4 3/4 in.
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![[ROUPELL (ARABELLA E.)]Specimens of the Flora of South Africa by a Lady, FIRST EDITION, list of subscribers (103 names subsc](https://cdn.globalauctionplatform.com/93a68dd1-6529-42ae-bb98-ae5400afba3e/e716df8d-bbbc-48c1-9fc5-ae5f014c85b0/468x382.jpg)
