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Assorted pictures and prints, to include Japanese example, botanical example, John Luddington watercolour etc (5)

A set of four reproduction prints of exotic birds, each 29 x 39cm; together with a pair of botanical prints and a single botanical print (7)Condition report: Overall condition is good. One bird print has lost glass from frame, and print has a few marks and some light damage.

A collection of six George V/VI London Gardens Society Exhibition participants medals, each in silver awarded to W.H. Tylden-Pattenson with card details to the inner lid, together with various other botanical medals many to the same recipient to include Daily Mail Sweet Pea Competition and RHS Affiliated Societies, all cased. (15)

Five botanical study prints of roses, 35.5 x 24.5 cm; a still life watercolour of roses in a vase, 42 x 32 cm and a watercolour by V Hensman, 34.5 x 27.5 cm (7)

Two sets of botanical prints of various sizes including four Loudon (6)

Liz Stewart - Floral botanical study 'Liberty', watercolour, signed and dated '86, 55 x 75 cm

ASSORTED 19TH CENTURY POTTERY including RARE WILLIAM IV DATED POTTERY JUG, dated 1835 and with initials 'WEJ', painted with wild flowers and wild strawberries in bright pink, yellow, green and blue enamels with black highlights, 21cms high, CAMBRIAN POTTERY SUPPER DISH & MATCHED COVER, former with fruiting vine border, latter with named botanical spray of 'long-spiked Indigo', 34cm long, and a Cambrian jug, 11cms high, and Staffordshire lustre fluted jug, 13cms high, two blue painted dinner plates 24cms diameter and ASSORTED ANTIQUE CERAMICS including pair of German Llanelly Hospital souvenir plates, German Welsh costumes / scenery plate, set of six bird-printed coffee cups, sundry saucers, jug ETC. Comments: William IV jug - base stained, crazing, spout rim worn, spout cracked. Cambrian dish and cover - Supper dish chipped and stained, jug enamels both worn, Cambrian jug restored spout, one plate chipped

A set of fifteen Victorian handpainted botanical dinner plates (some a/f)

A Chelsea Porcelain Oval Dish, circa 1760, painted with fruiting branches and with butterflies within a green line rim, brown anchor mark, 26.5cm wide; and A Creamware Oval Stand, circa 1800, painted with named botanical specimens within a pierced scrolled border highlighted in green and gilt, inscribed in red, 31.5cm wide (2)Condition report: Chelsea dish with some flat rim chips and a faint hairline crack. Creamware dish broken in half and restuck, and with some wear.

A pair of 18th century copper plate engravings depicting Frederick Christian II, Duke of Schleswig-Holstein-Sonderburg-Augustenburg and Princess Louise Augusta of Denmark together with a French 19th century botanical ornithological watercolour within a embossed mount, signed indistinctly, together with another decorative print. (4) The pair of portraits: 29cm x 21.5cm. Provenance: The contents of a Chelsea Mansion furnished by Nicky Haslam and Collette van den Thillart. Further information on the Dawsons website article here

A set of three early 19th century botanical hand-tinted engravings, depicting 'Veronica arvensis', 'Veronica serpyllifolia', and 'Veronica Chamoedrys', each decoratively framed and glazed. (3) Each: 56cm x 46.5cm. Provenance: The contents of a Chelsea Mansion furnished by Nicky Haslam and Collette van den Thillart. Further information on the Dawsons website article hereCondition report: All frames in clean decorative order. One print with some small amounts of foxing as per images. No apparent tears/damage to any.All ready to hang.

A Copeland Botanical dessert service, well painted with flowers, apple green rim, gilt dentil rim, comprising a large comport, three lower comports and ten shaped circular plates, printed marks, registration triangle, c.1880

A Minton Botanical dessert service, comprising twelve shaped circular dinner plates, three pedestal oval comports and three circular comports, each with large central flower, turquoise jewelled intertwined ribbon border, 22cm wide, c.1860

Collection of mixed china including Poole, Coalport, Hammersley Botanical Gardens coffee set, Minton and silver plate items

A set of 4 hand coloured botanical prints, framed

A Continental watercolour, man with a pipe, signed, framed, overall 52cm x 41cm, and a botanical coloured print, framed (2)

The Annals of Horticulture and Year-Book of Information on Practical Gardening for 1847-1849 in 3 volumes, published Houlston & Stoneman and Charles Cox, each volume with a coloured frontispiece and engraved title pages with numerous woodcuts, uniformly bound in half leather with raised bands and gilt leather labels, Curtis's Botanical Magazine Dedications 1827-1927 Portraits & Biographical Notes compiled by Nelmes & Cuthbertson 1931 in gilt lettered cloth, The Theory of Horticulture by Lindley 1840 first edition original cloth (5)     

The Profitable Planter. A Treatise on the Theory & Practice of Planting Forest Trees by W. Pontey 1809 third edition enlarged bound with Pontey's The Forest Pruner; or Timber Owners Assistant: A Treatise on the Training or Management of British Timber Trees 1808 second edition with several plates (including three folding in colour) bound in half leather with raised bands and gilt decorated spine, Pomarium Britannicum An Historical & Botanical Account of Fruits Known in Great Britain by Henry Phillips, 1822 second edition with three hand-coloured plates bound in leather backed boards (2)   

3 oval Copeland dessert dishes circa 1905 31.5 cm , Rogers pearlware shell edge plate 25 cm 1800 , Spode botanical plate 24 cm c1830 , Machin shell pattern dish c1810 20.5 cm , Chamberlain Worcester plate c1790 18.5 cm , a botanical plate with a latin name 19 cm plus 2 others . (10)damage to Rogers , Spode , machin , botanican plate and to the roses plate .

A Victorian presentation cup and saucer painted with botanical studies "A present for Moses Stokes", a pair of Royal Grafton cabinet plates, a bronze effect cowboy on a horse etc  (7)

A Chinese porcelain famille verte basin (Kangxi 1661-1722) the oval fluted body decorated internally to the centre with a phoenix and pheasant amidst scrolling botanical sprays, 40cm wide (at fault)

A collection of thirty five microscope specimen slides, late 19th century, most prepared by Moritz Pillischer, to include skin, various insects, botanical and mineral examples, set to six sectioned trays in a fitted wooden case with hinged front and cover, 20.5cm W x 10.5cm D x 5.5cm H, with a brass compound monocular microscope by J. Parkes & Son of Birmingham, late 19th century, with eyepiece, rotating double lens mount, drawtube coarse focusing and rack fine focusing, the stage with rotating aperture wheel and plane and concave mirror below, on tripod base with brass maker's plaque, 26cm high at lowest focus, and a Frodsham & Keen station pointer (3) (at fault)

A pair of Cauldon green ground porcelain vases with hand painted botanical panels, signed B Harrison, height 30cm

A shelf of gardening books, botanical books etc

Javier Llorens, "Disagree", framed mixed media, watercolour, gouache and ink on paper, 29.7 x 21cm (unframed), c. 2020. Representation of the uncomfortable feeling when gender, sexual orientation, pysical or psychological traits aren’t adecuated to what it is socially accepted. From the "QUEER series of Ephemeral-Botanical Sexuality". This series are based on the new ideas and concepts of gender. A body is only organic matter, your personal and gender choices are unrelated to that. Therefore, how can we portrait people based only on their physical appearance? Faces are one of the first indicators of gender. For that reason I have taken off the faces of my subjects and replaced them with botanical elements that relate to their personalities rather than their appearance to extract them from the "prision" of sexual gender. Plants are capable of hibridation, of sexual and asexual reproduction. Shipping to the UK £40.

Javier Llorens, "Yellow", unframed mixed media, watercolour, gouache and ink on paper, 50 x 40cm, c. 2021. Socially accepted tradition of wearing yellow in TV or theatre brings bad luck. On the 21st century this character finds in the yellow colour the comford of going against the socially accepted rules and turning it into his own personal luck. From the "QUEER series of Ephemeral-Botanical Sexuality". This series are based on the new ideas and concepts of gender. A body is only organic matter, your personal and gender choices are unrelated to that. Therefore, how can we portrait people based only on their physical appearance? Faces are one of the first indicators of gender. For that reason I have taken off the faces of my subjects and replaced them with botanical elements that relate to their personalities rather than their appearance to extract them from the "prision" of sexual gender. Plants are capable of hibridation, of sexual and asexual reproduction. Shipping to the UK £40.

Javier Llorens, "Dr.", framed acrylic on DM board, 29.7 x 21cm (unframed), c. 2020. This painting represents the volatility as a socially accepted trait of "masculinity". From the "QUEER series of Ephemeral-Botanical Sexuality". This series are based on the new ideas and concepts of gender. A body is only organic matter, your personal and gender choices are unrelated to that. Therefore, how can we portrait people based only on their physical appearance? Faces are one of the first indicators of gender. For that reason I have taken off the faces of my subjects and replaced them with botanical elements that relate to their personalities rather than their appearance to extract them from the "prision" of sexual gender. Plants are capable of hibridation, of sexual and asexual reproduction. Shipping to the UK £40.

PETER SNOW (1927-2008) A FOLIO OF DRAWINGS AND PRINTS including botanical, still life, landscape and street scenes, in pen and ink, charcoal, pencil and similar

PETER SNOW (1927-2008) A FOLIO OF ABSTRACT STUDIES including botanical and ink drawings

A COLLECTION OF PAINTINGS AND PRINTS including botanical prints and a pair of Old Master prints in period frames

Five glazed and framed prints, including a Mark Rothko image and Mackintosh botanical prints, largest framed size 86cm x 66cm

BOTANICAL PRINTS, a pair, framed, 88cm x 68cm. (2)

REPRODUCTION VINTAGE BOTANICAL PRINTS, a set of four, 50cm x 35cm. (4)

The Botanical Garden, volumes I and II, complete with sleeve, and The Magic of A Name - The Rolls Royce Story", three volumes complete with sleeve

A pair of botanical prints, print Numidian Crane and a print after Watteau

Four antique oriental albums containing approx. 80 images, to include portraits, scenes, botanical etc

Oriental School, a folder of many antique watercolours and prints, botanical studies and songbirds, mostly signed

Three large modern Botanical prints.

Three 18th century Meissen wrythen and ozier moulded plates painted with Deutsche Blumen, together with five similar Berlin plates, five early 19th century Ridgeway "Gloucester" shaped dessert plates decorated with named botanical specimens and a further sixteen early 20th century English porcelain dinner plates printed with scattered sprigs under dry blue borders (qty)

A quantity of stoneware including flagon by Saxon & Co Botanical Brewers, small Columbia Cream Whisky, ginger beer bottles etc plus two Boomerangs.

A Portmeirion 'Botanical Garden' slim vase, small novelty teapot with book,fruit bowl and cup and saucer on the lid, sugar bowl, two Delft style cereal bowls, Delft ashtray, blackbird pie funnel, Sylvac top hat, some a/f.

An Edwardian Wedgwood Etruria botanical part dinner service, stamped Wedgwood, Made in England, over glaze 5449, comprising 6 x 10 1/2" dinner plates, 12 x 9" dessert plates, 10 x 8 1/2" side plates, 5 x 10 1/2" soup bowls, 5 x oval meat plates 14 1/2" to 18 1/2", together with three lids and a stand An Edwardian Wedgwood botanical Pearlware part dinner service, stamped Wedgwood Pearl, comprising 12 x 10 1/2" dinner plates, 9 x 10 1/2" soup bowls, 3 x shallow tureens with covers, a soup tureen with cover and 9 other pieces, the whole A/F

PHILLIPS, R. The Botanical Garden 2 vols. 2002, 4to orig. cl. d/ws s/case, plus BRETT, W. The New Book of Gardening 3 vols. 1925, plus 1 other (6)

A modern Portmeirion pottery Botanical Garden pattern vase, 25.5cm, together with a modern Chinese blue and white ginger jar and cover, and larger jar (4)

Two antique Viennese botanical prints in mahogany frames. To Joseph Nigg. Dimensions: H 73 x W 50 cm. In good condition.

Studio pottery - a Don Askew molded bowl; another planter etc; A Portmerion The Botanical Gardens bowl/ tableware. etc.

Small illustrated Koran manuscript, Indian, probably 16th Century, 8.5x6.5cm, mounted and framed; and four botanical prints, various sizes.

Two trays of Mid Winter Stylecraft Staffordshire dinner ware with botanical design to include turines, plates, etc. Together with a tray of Johnsons Brothers floral tea ware. (3)(B.P. 21% + VAT)

Great Britain FDC 1964 (5th August) Botanical Congress non phosphor set London CDS, Eric Etkin A/P

Great Britain 1964 (8 May) Botanical (10th International Congress) Edinburgh Aug 1964, London FDC (Stanley Gibbons)

Great Britain FDC 1964 (5 Aug) Botanical Congress Phosphor set, Southampton date stamps, J. Saundons

A pair of Stovax tiles with botanical decoration of an iris

Flemish school; XVIII century."Landscape".Oil on canvas. Relined.Damage in the upper left corner.Measurements: 91 x 108 cm; 114 x 129 cm (frame).The author structures this scene based on successive planes that provide a great depth to the scene. An image in which dominates a gloomy landscape composed with dark tonalities very typical of the Flemish palette. In the scene dominated by the landscape, the author articulates a series of elements that bring dynamism to the scene, an example of this is the presence of the characters crossing the bridge, located in the lower right area or the buildings that are located in the last planes. It is remarkable the way in which the figures are treated, whose clothes show a movement caused by the wind, thus providing an atmospheric conception to the image.Like other genres that acquired great popularity during the 17th century in Flanders, landscape painting has its roots in the Dutch pictorial tradition of the 15th century. The background landscapes of the religious works of Van Eyck, de Bouts or van der Goes occupy a much more important place in them as an artistic element than that occupied by the landscape in Italian painting of the same period. As far as the representation of the narrative is concerned, the landscape of the Flemish primitives plays an essential role, not only as the natural environment of the characters but also to separate and set the various episodes of the story narrated in the work. As for the imitation of nature, the Flemish painters of the 15th century tried to represent in a plausible way in the landscapes of their religious paintings the fields and cities of their native country, detailing their flora with botanical precision and even giving an idea of the time of day and the season of the year in which the scene takes place. This special interest in the representation of the landscape increased as the 16th century progressed, when a new type of landscape for sacred scenes was developed and popularized: the panoramic view. Very soon, however, it was the representation of the landscape itself that was to receive the attention of painters and, of course, of the public. In the panoramic views of Joachim Patinir and his followers the roles are reversed: the religious subject is an excuse for the landscape. In these paintings the landscape becomes completely independent of any narrative, and this is the direction that the Flemish and Dutch painters of the late sixteenth and early seventeenth centuries were to follow, a time when landscape painting acquired great popularity in the Netherlands and specialists in the genre began to proliferate. Gillis van Coninxloo, Paul Bril, Jan Brueghel the Elder and Joos de Momper are the most distinguished landscape painters of the transition from the sixteenth to the seventeenth century, and each of them imprinted their vision of the landscape with a very personal stamp.

BOTANICAL, small coll'n of 18th / 19th c. prints (Q).

A Collection of Rosenthal Cabinet Plates, nine in total, botanical themes. In good condition.

Indian School Watercolour - Botanical Interest.Impressive and finely detailed. Depicting plants, insects etc.Artist signed bottom right. 21.5 x 17.5 inches with frame.

Collection of Six Limited Edition Botanical Prints from the National History Museum edition 129/7500 to include, Amaryllis Equestre, Iris Frangee, Camellia Fleurs Blanches, Narcisses a Plusieurs Fleurs, Althea Frutex, and Pervenche.

ENGLISH SCHOOL. 19TH CENTURY Botanical study of a thistle. Signed monogram and dated 1895. Watercolour 16' x 9'

Miscellaneous collection of prints to include approximately 60 botanical plates from United States & Mexican Boundary; a small collection of natural history/animal wood engravings & colour lithographs; 15 French copperplate engravings of fruits after Aubret from Traite des Arbres Fruitiers, c.1768, 12" by 9.5"; two hand-coloured botanical engravings by Curtis, 1809; two French equestrian etchings; eight leaves from L'Illustration, the magazine on fine bindings by Louis Barthou, all colour photographic images of works bound in inlaid and elaborate leather covers, and others

Curtis, William. Collection of approximately 60 hand-coloured botanical engravings, loose, with some letterpress leaves accompanying the plates, c.1797