Royal Copenhagen, Denmark. Pair of Flora Danica botanical porcelain relish dishes, shape numbers 20 3542 and 20 3544. Both marked along the underside with the blue wave and green printed marks. The larger dish depicts the Hairy Stonecrop or Purple Stonecrop, and the smaller dish depicts the Cross-leaved Heath. Both inscribed with the plants' Latin names along the undersides.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.Larger dish; Height: 1 1/2 in x width: 8 1/4 in x depth: 4 3/4 in. Smaller dish; Height: 1 in x width: 6 1/2 in x depth: 3 1/4 in.
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Royal Copenhagen, Denmark. Set of 20 pieces of Flora Danica botanical porcelain flatware, mounted with silver gilt with the mark of Georg Jensen, Denmark. The set comprised of four knives, eight forks, and eight spoons. All pieces retain original boxes.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.Forks (each); Length: 7 1/2 in. Spoons (each); Length: 7 1/4 in. Knives (each); Length: 8 in.
Of oval cruciform shape, with turned foot and curvaceous gilded rim, painted with a specimen as titled to the base 'Ash-Leaved Trumpet Flower' in puce with Swansea script mark42cms wideprivate collection Swansea, consigned via our Cardiff officeAuctioneer's Note: alongside the Swansea script the base is marked 485 XIV, this refers to plate 485 of volume XIV of Curtis's Botanical Magazine, 1880.Condition report: Comments: very slight chipping to foot, wear and surface scratches only
Alfred Powell (1865-1960) for Wedgwoodset of six botanical plates with lustre rims, each signed and numbered 2537 to the reverse with impressed marks also, 23.5cm acrossCondition report: All with scratches, wear, some loss to the lustre and signs of wear throughout. Some glaze/firing faults as expected.
Isabelle Hayman 80's Dancer Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice. Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator" Gallery Representation School Gallery London Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.
Isabelle Hayman With My Cat Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice. Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator" Gallery Representation School Gallery London Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.
Isabelle Hayman Purple Jumpsuit Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice. Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator" Gallery Representation School Gallery London Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.
Isabelle Hayman Green Dots Swimsuit Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About I am a French artist working from my studio in south London. I simultaneously work on 2 groups of artworks. One inspired by my curiosity for the decorative arts, formed by a large series of botanical drawings. Large drawings filled with multiple references and details forming an eclectic mosaic of different patterns carefully assembled. Alongside a series focused on the female representation. Portraits based on graphic lines, oversized eyes, strong profiled decorative elements. Female bodies expressing strength and movement. My work is strongly rooted in a daily drawing practice. Education ESAA Duperré Printed Textiles Master of Fine Arts Paris I Select Exhibitions/Awards RA Summer Exhibition 2021 ING Discerning Eye 2021 Paul Smith Group Show November 2020 Compton Verney "Lucas Cranach, Artist and Innovator" Gallery Representation School Gallery London Statement about AOAP Submitted Artwork The series of 4 ink drawings belongs to a recent group of drawings called the dancers. I have previously worked with a contemporary dancer and choreographer on 2 series of live drawings. I am interested in the geometry created by bodies in movement, this geometry being emphasised by clothing, accessories and colour. They are a joyful and humorous representation of the female form.
An assortment of early 20th century watercolour botanical studies prints. The paintings depicting studies of several flowers such as Forget Me Nots, Periwinkle, Honeysuckle and Jasmine. Also accompanied by a pair of Edwardian era female pencil portraits framed side by side. All framed and glazed. Measures 39cm x 30cm.
Hutchinson, J: and Dalziel J.M.: Flora Of West Tropical Africa, The British West African Territories, Liberia, The French And Portugese Territories South Of Lattitude 18 N. To Lake Chad, And Fernando PO. second edition Vols I Pt I & II, II and III, together with various other botanical volumes to include G. Bentham & J.D. Hooker, Genera Plantarum Vols II & III and Abbe H. Coste, Flore De La France Vols I-III etc. (three boxes)
Collection of approximately two hundred glass magic lantern slides including topographical views, manufacture of bricks, salt making, Tour Through Yorkshire, granite, steel making, continental mountains, castles and cathedrals, trees and botanical etc, many annotated, some with photographer's initials GWW
A 'TAIHU' SCHOLAR'S ROCK, QING DYNASTYChina, 1644-1912 or earlier. Of irregular form with protrusions and deep crevasses as well as reticulation. The porous stone of a distinct grayish-brown color, extensive natural wear and an unctuous feel overall. Provenance: From a private collection in New York, USA. Kemin Hu, acquired from the above. Kemin Hu is a well-known and important scholar and collector of scholar's rocks. Her father, Hu Zhao-Kang, was a noted connoisseur of Chinese Bonsai, Penjing, Gongshi and Chinese antiquities, inspiring her own passion. She would later become friends with such great collectors as Richard Rosenblum and C.C. Wang. Kemin Hu is the author of five books on scholar's rocks, and her own vast collection of scholar's rocks has been featured in numerous exhibitions, including a 100-piece exhibit in the Chinese Scholar's Garden at the Staten Island Botanical Garden, New York, in 2002.Condition: The rock shows clear signs of age and is without doubt significantly older than the hardwood stand, as evidenced by the fact that it was reworked at the base to fit the stand. The stone possibly with minor old fills, dents, losses, nicks and natural fissures, some of which have developed into small cracks over time. Extensive old wear, naturally grown patina overall.Weight: 1,695 g (excl. stand)Dimensions: Length 26.5 cm (excl. stand) and 27 cm (incl. stand)The scholar's rock resting on a naturalistically carved hardwood stand dating to the 20th century. (2)Auction result comparison: Compare a closely related Taihu scholar's rock, of similar form and reticulation but of a lighter tone and larger size (53.3 cm), at Sotheby's New York in Fine Chinese Ceramics and Works of Art on 23 March 2011, lot 653, sold for USD 23,750.清代太湖文人石 中國，1644-1912年或更早。整體造型玲瓏嵌空，表面嶙峋光潔，石質堅密，古樸凝重，天然灰褐色紋理。 來源：美國紐約私人收藏。胡可敏購於上述收藏。著名旅美華人賞石收藏家胡可敏女士，承襲家學。她的父親胡兆康先生曾是滬上知名的古董、盆景和供石收藏家。胡可敏受父親影響，開始供石的收藏與研究，成爲如Richard Rosenblum 與王己千一樣的著名收藏家。胡可敏曾出版了五本關於文人石的著作，而她的供石收藏曾在很多展覽中展出，其中一百多件曾於2002年在紐約植物園中國文人園展出。 品相：這塊供石有明顯年代痕跡，毫無疑問，它比硬木底座明顯更老，甚至曾為了嵌入底座而加工過底部。石頭可能有輕微的舊時填充、凹痕、損失、刻痕和天然裂縫，其中一些隨著時間的推移發展成小裂縫。 廣泛磨損，包漿自然。 重量：1,695 克 (不含底座) 尺寸：長 26.5 厘米 (不含底座) 與27 厘米 (含底座) 二十世紀硬木鏤空底座 (2) 拍賣結果比較：比較一件相近太湖文人石，形體相近，但石色稍淡，尺寸更大 (53.3 厘米)，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2011年3月23日 lot 653, 售價USD 23,750。
A Davenport pottery botanical plate, mid-19th century, painted in blue with a titled specimen, 'Various-Leaved Sollya', within a pierced rim, impressed and painted marks to reverse, diameter 21.5cm, together with three pieces of Davenport blue printed pearlware and a small group of other pottery and stoneware, including a Ridgway Japan Flowers potpourri and cover and Ridgway stonewares (minor faults).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.
John (Rebecca, 1947-). Apples on a Branch, watercolour over pencil on Fabbriano 100/100 cotton paper, depicting two red apples hanging from a section of branch, drawn by the artist at Priddbwll Bach, Llangedwyn, North Wales, initialled lower right in pencil 'R.J. Sep 23-25 '95', sheet size 28 x 18.8cm (11 x 7 1/2ins), mounted, framed and glazed, small crack to glass top left, (45.9 x 36.2cm)Qty: (1)Footnote:Rebecca John, grand-daughter of Augustus John, was in her thirties when she began to ‘make tentative pencil studies of flowering plants’. In 1994 she enrolled for the new botanical painting course at Chelsea Physic Garden. She then began to spend more time at her mother's cottage in Wales where she could work more closely with nature.
Stones (Margaret, 1920-2018). Carpentaria Californica, watercolour, showing a section of tree anemone with white flowers and yellow stamens and narrow elliptical leaves, signed lower left, pencilled title and inscription 'met. R.G.B. Kew June 4th 1990' to lower margin, 37 x 25.2cm (14 5/8 x 10 ins), mounted, framed and glazed (54.8 x 41.4 cms) Qty: (1)Footnote: Australian born Margaret Stones started her formal art training at Swinburne Technical College in 1936 and continued it at the National Gallery of Victoria School from 1940 to 1942. The outbreak of war brought an uncertain future so Margaret decided to train as a nurse. Shortly after completing her nursing exams she was struck down by tuberculosis. During her eighteen month recovery she rediscovered the therapeutic value of drawing. Sir Clive Fitts, a hospital doctor who was also an art collector and patron, mentioned her work to the Director of the National Gallery of Victoria and encouraged Margaret to take up botanical drawing seriously. In 1951 Margaret arrived in London to work with botanists and develop her art, working for more than fifty years as a freelance botanical illustrator for the Royal Botanical Gardens at Kew. She also illustrated The Endemic Flora of Tasmania, published as six vols in 1967-78, and completed The Flora of Louisiana for the Louisiana State University, Baton Rouge. She retired to Australia in 2001.
Stones (Margaret, 1920-2018). Malus Niedzwetzkyana, watercolour, depicting a section of branch from a Niedzwetzky's apple tree showing the pink blossom and red skinned fruit, signed in lower stem, pencilled title and inscription 'RBG Kew Ap 14th & June 20th 89' to lower margin, 20.6 x 15cm (8 1/8 x 6ins), mounted, framed and glazed (36.8 x 30cm)Qty: (1)Footnote: Australian born Margaret Stones started her formal art training at Swinburne Technical College in 1936 and continued it at the National Gallery of Victoria School from 1940 to 1942. The outbreak of war brought an uncertain future so Margaret decided to train as a nurse. Shortly after completing her nursing exams she was struck down by tuberculosis. During her eighteen month recovery she rediscovered the therapeutic value of drawing. Sir Clive Fitts, a hospital doctor who was also an art collector and patron, mentioned her work to the Director of the National Gallery of Victoria and encouraged Margaret to take up botanical drawing seriously. In 1951 Margaret arrived in London to work with botanists and develop her art, working for more than fifty years as a freelance botanical illustrator for the Royal Botanical Gardens at Kew. She also illustrated The Endemic Flora of Tasmania, published as six vols in 1967-78, and completed The Flora of Louisiana for the Louisiana State University, Baton Rouge. She retired to Australia in 2001.
Stones (Margaret, 1920-2018). Narcissus Bulbocodium, watercolour, showing a large clump of vibrant yellow daffodils, artist's signature to lower right, 25.3 x 17.5cm (10 x 6 7/8ins), mounted, framed and glazed (59.6 x 44.3cm), together with:Moon (Henry George, illustrator), Various Flora, 1903-05, 7 colour lithographs, each depicting different flowers including - The Cambridge Calla, Meconopsis Integrifolia, Tulipa Tubergeniana, Anemone Cernua, Group of Hybrid Iris, Sarracenia Flava and Rhododendron Augustinii And Its White Form, all with title to lower margin, image size 30 x 22.2cm (11 3/4 x 8 3/4ins), each mounted (43.2 x 34.8cm) and a pencil drawing of celery by Hannelore BlanchardQty: (9)Footnote: Australian born Margaret Stones started her formal art training at Swinburne Technical College in 1936 and continued it at the National Gallery of Victoria School from 1940 to 1942. The outbreak of war brought an uncertain future so Margaret decided to train as a nurse. Shortly after completing her nursing exams she was struck down by tuberculosis. During her eighteen month recovery she rediscovered the therapeutic value of drawing. Sir Clive Fitts, a hospital doctor who was also an art collector and patron, mentioned her work to the Director of the National Gallery of Victoria and encouraged Margaret to take up botanical drawing seriously. In 1951 Margaret arrived in London to work with botanists and develop her art, working for more than fifty years as a freelance botanical illustrator for the Royal Botanical Gardens at Kew. She also illustrated The Endemic Flora of Tasmania, published as six vols in 1967-78, and completed The Flora of Louisiana for the Louisiana State University, Baton Rouge. She retired to Australia in 2001.
Full title: Chinese school, Canton: Two botanical paintings of wild roses and carnations, colour on paper, 19th C.Description: Work: ca. 37 x 25,5 cmÊ Frame: 62,4 x 46,5 cmÊ Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Nine 19th century framed botanical and bird pictures, some in maple framesComprising: a hand coloured lithograph Trogon Ambiguus (Doubtful Trogon) by J & E Gould, from the 'Family of Trogons', in a rosewood frame, 34cm x 26cm, a watercolour by Barbara Everard, 33cm x 26cm, the others, 26cm x 20cm, 22cm x 17cm, 26cm x 29cm, 27cm x 22cm, 28cm x 22cm, and a pair in mahogany frames, 30cm x 22cm, 27cm x 22cm. (9)N.B: This lot is subject to CITES regulations
Miscellaneous Tokens and Checks, LANCASHIRE, Blackburn, Ordinance Hotel, brass Twopence, obv. stamped tp, 28mm; Bolton, Botanical Beverage Supply Co Ltd, J.W. Deakin, brass Threepence, 25mm (cf. DNW 135, 1311), James Knowles, brass Threepence by Pope, 23mm (Neumann 28110); Bury, Albion Hotel, John Horrrox, brass Penny, 29mm (cf. DNW 136, 1313), New Market Inn, George Hamilton, brass, 28mm; Liverpool, Royal Colosseum, Joseph Heath, copper, 26mm (W 735), Woolton, D.T. Smith, copper, 30mm; Manchester, Benjamin Lang, brass by Pope, 27mm (W 794), Mush & Clarke, brass, 28mm; St Helens, Golden Cross [Inn], J.A. Boyle, uniface brass Fourpence, 25mm, Raven Inn, Bowling Green, oval brass Threehalfpence, 32 x 23mm; Hearts of Oak Benefit Society, Twopence, 1845, copper, 27mm (W 2184) [12]. First fair but rare, fourth extremely fine, others fine to very fine £90-£120 --- Provenance: Bury Albion Hotel bt Spink; both St Helens R. Lyall Collection, DNW Auction T18, 27 August 2020, lot 751 (part)
A diverse accumulation filling a carton, the four principal stockbooks holding an exciting range of booklet panes and plate blocks from KGV Downey head right through to volumes for pre-decimal Machin and commem cylinders, plus a little early decimal incl. high value plate blocks. Highlights include the plate block sections for KGV photogravure through Jubilee and over 40 different EdVIII incl. 1d A36 cyl. 14. Also noted 1939/48 and 1951 high value sets MNH (cat. £525), 1948 Silver Wedding £1 plate block MNH (cat. £200), better Wildings in packets or cards incl. 1958 graphite inverted wmk set MNH, 1960 phosphor wmk inverted set of ten MNH (cat. £340), the commems of course excellent with probably all the better phosphor sets in plate block MNH incl. 1963 Red Cross (cat. £370), as well as unusual large smear of the dark green ink in corner of 1964 Botanical 9d block, etc. The rest of the carton is the odds and ends in manila envelopes etc, from pre-stamp through line-engraved to early QEII, noted 1924/5 Wembley postal stationery group, a small box of booklets incl. Wildings, Wilding Castles sheets incl. £1, etc, etc. Catalogue will be at least several thousand pounds in the stockbooks alone.
A strong collection in three binders, concentrating exclusively on pre-decimal issues, the packs looking highly complete including 1964 Geographical Congress, Botanical Congress, elusive Forth Road Bridge and so on (cat. on these three alone £550). The FDCs also an excellent range with strength in the earlier period, starting with KGV including an immaculate quality 1935 Silver Jubilee with the set of four (cat. £650), KEVIII with 1d single and other values (cat. £375), much KGVI incl. Silver Wedding £1 single and no doubt better early QEII types. Select quality virtually throughout. Please inspect.
![Miscellaneous - Gardening, Maxwell (Sir Herbert, Bt) & Wilson (Mary G., illustrator), Scottish Gardens [...], first editi](https://cdn.globalauctionplatform.com/594fd030-0d04-4570-94fb-ae3900e0087d/ae3edfdc-421a-4294-801a-ae40010f7265/468x382.jpg)
Miscellaneous - Gardening, Maxwell (Sir Herbert, Bt) & Wilson (Mary G., illustrator), Scottish Gardens [...], first edition, London: Edward Arnold, 1908, colour plates, contemporary pictorial cloth, top-edge gilt, 4to, (1); Thompson (Robert), The Gardener's Assistant [...], London: Blackie & Son, [n.d., 1859], printed in parallel columns, hand-coloured botanical plates, b.w in-text illustrations, contemporary quarter-calf (split, worn), 8vo, (1); Fish (D.T., editor), Cassell's Popular Gardening, With numerous Illustrations, four-volume set, Subscription Edition, London: 1893, full-page botanical chromolithographs, contemporary green cloth, 8vo, (4); Hole (S. Reynolds, Dean of Rochester), A Book About the Garden and the Gardener, fourth edition, London: 1899, contemporary pictorial cloth, 8vo, (1); Weaver (Sir Lawrence), Tradition and Modernity in Plasterwork, Tradition & Modernity in Plasterwork, London: G. Jackson & Sons Ltd, 1928, contemporary vellum over papered boards, d/j, 4to, (1); Trade Catalogue, Oriental Carpets, [n.d., c. 1905]; photography; atlas; royal commemoratives; etc., [23]
Natural History - Botany: Anon, British Botany Familiarly Explained and Described, in a Series of Dialogues, Illustrated with Twenty-Eight Coloured Plates [...], Dublin: William Frederick Wakeman, 1835, original moiré cloth, 8vo, (1); Withering (William), A Botanical Arrangement of all the Vegetables, volume I only, Birmingham: M. Swinney, 1776, fold-out engraved frontispiece, rebacked publisher's boards, 8vo, (1); Lindley (John), School Botany [...],London: Printed and Published by the Author [...], 1845, in-text illustrations, contemporary gilt-lettered blue roan over original wrappers, 8vo, (1); Miller's The Gardeners Kalendar (sic), defective, later associated morocco binding, 8vo, (1); further natural history, including Barlow (Nora, editor), Charles Darwin's Diary of the Voyage of H.M.S. "Beagle", Cambridge: University Press, 1933, original green cloth, 8vo, (1); Newman's British Butterflies and Moths, Illustrated, [n.d., 1869], Rugby School prize binding, 4to, (1); Goldsmith's Animated Nature, illustrated, 4to, (2), etc., [10]
Natural History, Botany & the Enlightenment - Bradley (Richard, Late Fellow of the Royal Society), The History of Succulent Plants: Containing, The Aloes, Ficoids (or Fig-Marygolds (sic)) Torch-Thistles, Melon-Thistles, and such others as are capable of an Hortus Siccus/Engraved, from the Originals, on Copper-Plates/With their Descriptions, and Manner of Culture, five-parts in one volume, second edition, London: Printed for J. Hodges, at the Looking-Glass, on London-Bridge, 1739, each of the five parts with separate title-pages printed in English on both sides, the text printed in double-columns in parallel English and Latin, decorative woodcut initials, head- & tailpieces, complete: pp: [2] (blank), [vi], 11, [1] (advert); [2], 11, [1] (advert); [2],12, [2] (binder's direction & blank); [2],18,[2] (binder's direction & blank); [2], 7-18, [3] (binder's direction and blanks); illustrated with 50 botanical engravings by Henry Hulsbergh (d. 1729), John Stuart (1658-1730) and others. (Numbered 1-50, no. 26 and 27 on one page, one plate folding), contemporary speckled calf, the covers gilt-ruled with a double-fillet, graduating six-compartment spine of raised bands tooled in gilt with foliate bosses, red-speckled edges, 4to (23cm x 17.5cm), [Henrey 492; ESTC N17833], [1]A rare variant of a rare work. According to Staflen (TL2 699) the second edition has a new title-page (as here), but usually omits the separate part-titles - which are still present in this copy. Only three UK institutional locations found (Chetham's Library, Royal Horticultural Society Library & Edinburgh University Library). Provenance: 1st) Fred: ?B, contemporary ink manuscript ownership inscription; 2nd) Rob. Bliss Oxon 1825/0.3.0, ink manuscript inscription. There are two Robert Blisses recorded in Oxford at the time: one a bookseller with a circulating library, the other Bailiff of the University; could they be the same man?
Numismatics - Pinkerton (John), An Essay on Medals: or, An Introduction to the Knowledge of Ancient and Modern Coins and Medals; Especially those of Greece, Rome, and Britain, two-volume set, third edition, with corrections and additions, London: Printed for T. Cadell and W. Davies, 1808, contemporary quarter-calf over marbled boards, 8vo, (2); others subjects, including Husbandry, Miles' Modern Practical Farriery [...], London: William Mackenzie, [n.d., c. 1880], chromolithographic title-page and plates, contemporary green cloth, 4to, (1); Botany, Hulme (F. Edward, F.L.S., F.S.A.), Flower Painting in Water Colours, second edition, London: [n.d., c. 1890], tipped-in botanical plates, contemporary cloth, 4to, (1); Travel, Stanley (Arthur Penrhyn), Sinai and Palestine [...], London: 1877, illustrated, cloth, 8vo, (1); Debrett's House of Commons and Judicial Bench 1928, 8vo, (1); Selections from the Writings of John Ruskin, 1843-1888, two-volume set, second edition, London: 1894, green cloth, 8vo, (2); Cleopatra's Needle; Greece; etc., [15]Provenance: 1st: Joseph Ablett (1773-1848), of Llanbedr Hall, Ruthin, Denbighshire, Wales, philanthropist and High Sheriff of the said county in 1809; his pictorial-armorial bookplate to each pastedown.
A late 19th century morocco drawing-room album, compiled from 1880 into the first-half of the 20th century by various individuals, some leaves hand-scrivened and illuminated, inscribed with verse and illustrated with 18th century and later pictures and prints, including botanical, architectural, topographical, travel, fashion, Arthur Rackham, and other subjects, some of which have been later hand-coloured, contemporary green morocco, outlined and panelled in gilt, all-edges gilt, gilt turn-ins, decorative endpapers, folio (34cm x 26.5cm), (1); a Regency artist's sketchbook, illustrated in pencil with 29 scenes, titled and dated 1817 in ink MS, disbound, oblong 4to, (1); Modern British, an early 20th century art student's anatomical sketchbook, executed in pencil by Petherick, Slade, University College, and enclosing drawings and preparatory studies of the male and female form, some nudes, cloth over board sketchbook, supplied by Newman of Soho Square, 8vo, (1); Leaves from T.L. Rowbotham's Sketch Book, Part 1, London: Printed and Published by George Rowney & Com:py, [n.d., c. 1870], original printed title-label and chromolithographs laid onto later leaves, institutional quarter-morocco over cloth, gilt-lettered and blocked in blind, folio (39cm x 29cm), [4]
Album Orné, a post-Regency/early Victorian lady's illustrated drawing-room commonplace-friendship album, [n.d., c. 1835 and onwards], including a full-length portrait silhouette of the Duke of Wellington, dressed in uniform, before the Brighton Pavilion; an Oriental pith paper painting of exotic butterflies and insects; two Chinese pith paper paintings, portraits of Mandarins, one of which holds a ruyi sceptre, Qing dynasty, 19th century; watercolour still lives of flowers and botanical specimens; figural pencil studies; a Gothic Revival hand-scrivened and illuminated paper leaf, The Virgin's Cradle Hymn; ink manuscript inscriptions, including the Lord's Prayer in miniature; passages from the Psalms and other literature; tipped-in and pasted-in portrait and other prints, some-proto brail, including The Blind Man's Bride; etc., loose contents, the colour paper leaves printed with decorative borders, others pierced and reticulated, contemporary maroon morocco gilt, the covers with a printed paper onlay, printed 'lace' endpapers, 4to, [1]
Time's Footsteps: A Record of Red Letter Days and Events, chronicled by Gertrude Ann Swift, dated from 1886, the lithographed card leaves enclosing an annotated herbarium of pressed flowers and botanical specimens, a photograph album of family pets (dogs, horses and cats), and inscribed in ink MS with a miscellaneous cocktail of autobiographical and family-&-friend's information, including birthdays, weddings (some of which are local to Derby and its environs), records of presents and gifts, hobbies, etc., the album printed by Ernest Nister of London, publisher's pictorial blue cloth, 4to, [1]
![Botany and Gardening - Balfour (John Hutton), A Manual of Botany [...], Illustrated by Numerous Engravings, Edinburgh: Adam a](https://cdn.globalauctionplatform.com/594fd030-0d04-4570-94fb-ae3900e0087d/2204e873-b1eb-4d01-a4dd-ae40010e9602/468x382.jpg)
Botany and Gardening - Balfour (John Hutton), A Manual of Botany [...], Illustrated by Numerous Engravings, Edinburgh: Adam and Charles Black, 1860, rebacked contemporary green cloth, refreshed endpapers, 8vo, (1); Bean's Trees and Shrubs, two-volume set, fifth edition, London: 1929, green cloth, 8vo, (2); Halliday (Geoffrey), A Flora of Cumbria [...], University of Lancaster, 1997, illustrated, p/b, 4to, (1); Graham (G.G.), The Flora & Vegetation of County of Durham, The Durham Flora Committee, 1988, d/j, h/b, 4to, (1); an early 20th century botanist's manuscript, by S. Moorhouse, Oldham, October 1930, inscribed in ink manuscript and illustrated with in-text botanical illustrations, contemporary cloth, blocked in gilt: The University of Manchester, 4to, (1); Alpine Gardening, various periodicals; Sissinghurst, Hidcote; etc
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