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Trio of botanical scarves, florals and birds, pale colours, 1940/50s, 2 silk and 1 acetate

A folio of early 19th century dried botanical specimens on paper,mounted on loose pages of varying size, most inscribed in ink with botanical names and dated between 1819 - 1835,Largest 47 cm X 28 cm (89 specimens)

12 BOTTLES GINAbingdon London Dry (50cl); Brighton Spirits Co. Seaside Strength (70cl); Prestwick Small Batch Original (70cl); Gerard's London Dry Two Birds Countryside Strength (70cl); Vadehavs Small Batch (50cl); Granddad Jack's Two Pencils (50cl); Ginti Single Estate Scottish Tea (70cl); Harrison Handcrafted (70cl); Monti London Dry (70cl); QVT Dry (70cl); Glendalough Wild Botanical (70cl); Hampstead Copper Distilled (70cl)

10 BOTTLES SPIRITSCourvoissier VSOP Cognac; Godet XO Terre Cognac; Bals Akvavit (50cl); Carlos I 1520 Brandy de Jerez Solera Gran Reserva; Klocktornet Matsup Frakne Fanfar Aquavit (50cl); Frapin VSOP Cognac; Oslo Handverksdestilleri Akevit Julen 2020 (50cl); Lidl Grappa di Barolo Invecchiata; Tesco Brandy de Jerez Solera Reserva; Lysholm No 52 Botanical Aquavit

12 BOTTLES LIQUEURSMozart Chocolate Cream (50cl); Palm Beach Rum Liqueur Watermelon (50cl); Feels Botanical Eau de Vie Grape Spirit (50cl); GE Massenez Poize Williams Eau de Vie; Three-Forty Orancello; Marie Brizard Triple Sec; Royal Distillers de Kuyper Creme de Cacao; Edelhof 1514 Pommes D'Or and Schoner Von Nordhausen (35cl); Vya Vermouth Aperatif Sweet; Panocho Licor de Naranjas Frescas; Casa Fundada Vermut Rojo

Antiquarian. M'Alpine, D. - The Botanical Atlas: A Guide to the Practical Study of Plants, &c. Edinburgh: W. & A. K. Johnston, 1883. Two Volumes. Original cloth. Colour plates. (2)

* EILEEN LAWRENCE RSA,ASCENTgold leaf and watercolour on paper, signed, titled and dated 1989image size 41cm x 18cm, overall size 63cm x 39cm Mounted, framed and under glass.Handwritten artist's label verso.Note: Eileen Lawrence RSA was born in Leith and studied at Edinburgh College of Art (1963 – 1968). Using a precise and detailed technique like a botanical illustrator, Lawrence produces drawings and watercolours of natural objects, such as feathers and twigs. These items are collected by the artist on visits to the countryside. Lawrence`s intensely detailed studies are a way of meditating on man`s spiritual relationship to nature. Her first solo exhibition was held at the 57 Gallery, Edinburgh, in 1969. Significant early exhibitions included participation in the 1977 Paris Biennale and the seminal touring exhibition, Inscape, organised by the Scottish Arts Council around the same period. In 1978 Lawrence secured her first major solo exhibition, held at the Arnolfini, Bristol. These exhibitions cemented Lawrence’s reputation and acquisitions by the Tate and the National Galleries of Scotland followed. In 1992 the Fruitmarket Gallery, Edinburgh, held a retrospective of Lawrence’s practice and this toured to the Usher Gallery, Lincoln. Since then, major exhibitions have been held at Drumcroon, Wigan; Worcester City Art Gallery; the Pier Arts Centre, Stromness, Orkney; and the Mead Gallery, Warwick.

Christian Rohlfs (1849 Niendorf - 1938 Hagen)Rote Blüten, Farbkreide auf Papier, 23,5 cm x 33 cm Blattmaß, monogrammiert, 33 datiert, partiell Stecknadellöcher, Blatt auf Karton montiert, partiell fleckigProvenienz: Sammlung Haas, EssenChristian Rohlfs wurde am 22. Dezember 1849 in Groß Niendorf geboren. Von 1870 bis 1874 besuchte Rohlfs die Großherzogliche Kunstschule in Weimar. Nach einer krankheitsbedingten Pause wechselte er im Jahr 1876 an die Akademie in Weimar. Dort war er ab 1884 als freischaffender Künstler tätig und wandte sich zunehmend dem Impressionismus zu. 1901 lernte der Künstler Karl Ernst Osthaus kennen, welcher ihn als Lehrer an die Folkwangschule in Hagen holte. Dort konnte er sich sein eigenes Atelier in der Umgebung des Folkwanger Museums einrichten. Bevor Rohlfs sich ab ca. 1880 dem Impressionismus hinwendete, war seine Malweise von dem Naturalismus der Weimarer Zeit geprägt. Die Farbigkeit seiner Bilder nahm in den 1890er Jahren weiter zu, ohne völlig auf die Naturwiedergabe zu verzichten. Nachdem er den Künstler Emil Nolde 1905 in Soest kennenlernte, entwickelte er seinen expressiven Spätstil. 1907 schloss Christian Rohlfs sich dem von Karl Ernst Osthaus geleiteten "Sonderbund westdeutscher Kunstfreunde und Künstler" an. In den darauffolgenden Jahren wurde er 1911 Mitglied der Neuen Sezession, 1914 der Freien Sezession, 1924 der Berliner Kunstakademie und 1925 der Düsseldorfer Kunstakademie. 1929 wurde in Hagen das Christian-Rohlfs-Museum und 2011 das Christian-Rohlfs-Archiv am Osthaus Museum Hagen gegründet. Wie schon in seiner Weimarer Zeit griff Rohlfs in den 1920er Jahren die Blumenmalerei auch aus finanziellen Gründen wieder auf. Schon nach einigen Jahren veränderte er seine Vorgehensweise durch eine exakte Gliederung der Form und ein stellenweises Auswaschen bzw. Verwischen der Farbe. Der Bildraum wird aufgelöst und das Motiv existiert nur noch auf der Fläche, eine Tiefenräumlichkeit wie in der traditionellen Stilllebenmalerei ist obsolet geworden. Seine späten Blumenstücke, zu denen auch die "Roten Blumen" zählen, welche in flüchtigen, aufs Papier geworfenen roten und schwarzen Kreidestrichen, teilweise lasierend und verwischt gezeichnet sind, sind nur noch farbige Erscheinungen einer transparenten Immaterialität und die monochrome Farbsetzung verschließt sich bewusst einer botanischen Bestimmung, auf die der Künstler zuvor so großen Wert gelegt hatte. Christian Rohlfs (1849 Niendorf - 1938 Hagen)Red flowers, chalk pastel in colours on paper, sheet size 23.5 cm x 33 cm, monogrammed, dated 33, with some pin holes, mounted on card, slightly soiledProvenance: Haas collection, EssenChristian Rohlfs was born in Groß Niendorf on December 22nd 1849. From 1870 to 1874 Rohlfs attended the Grand Ducal School of Art in Weimar. After a break due to illness, he transferred to the Academy in Weimar in 1876. There he worked as a freelance artist from 1884 onwards, turning increasingly towards Impressionism. In 1901 the artist met Karl Ernst Osthaus, who brought him to the Folkwang School in Hagen as a teacher. There he was able to set up his own studio in the vicinity of the Folkwang Museum. Before Rohlfs turned to Impressionism in around 1880, his painting style was influenced by the naturalism of the Weimar period. His works became increasingly colourful throughout the course of the 1890s, but never entirely abandoned the reproduction of nature. After meeting the artist Emil Nolde in Soest in 1905, he developed his expressive late style. In 1907 Christian Rohlfs joined the ''Sonderbund westdeutscher Kunstfreunde und Künstler'', led by Karl Ernst Osthaus. In the following years he became a member of the Neue Sezession in 1911, the Freie Sezession in 1914, the Berlin Art Academy in 1924 and the Düsseldorf Art Academy in 1925. In 1929 the Christian-Rohlfs-Museum was founded in Hagen and in 2011 the Christian-Rohlfs-Archive at the Osthaus Museum Hagen. As he had done during his Weimar period, Rohlfs picked up flower painting again in the 1920s for financial reasons. After several years he changed his approach to include a more exact division of forms and a partial smudging of colour. The pictorial space was thus dissolved and the motif existed only on the plane, with the illusion of depth strived for in traditional still life painting becoming obsolete. His later flower paintings, of which ''Red Flowers'' is a fine example, created using fleeting, hastily placed strokes of black and white chalk, partially layered and smudged, are merely colourful manifestations of a transparent immateriality, the monochromatic colour palette of which deliberately occluded the botanical accuracy upon which the artist formerly placed so much value.

A pair of botanical etched glass vases with silver collar London 1915, R&P 21cms h.Condition ReportDents to rims and dirt grime, otherwise good condition.

A stoneware flagon jug Markham & Miller Botanical Brewers Campwell St, Hull 1931 with original screw cap. Impressed makers stamp Price Bristol,. Approx. 29cms h x 14cms w.Condition ReportSurface glaze scratches, no major issues, overall fairly good.

A quantity of unframed botanical watercolours and drawings of fruit and flowers.

After G.D. Ehret, colour reproductions, botanical studies with five further decorative botanical prints, another of shells, a pair of architectural elevation prints retailed by OKA, two fox hunting prints after Alken, and a 20th century needlework of a dog and butterfly

A 19th century mahogany miniature coffer / chest /  having a flared hinged carved lid with geometric patterns to the edge. The chest opens to reveal spacious interior with side decorated with botanical motifs raised on a plinth base. Measures 15cm x 29cm x 20cm

Nineteenth-century British School, botanical watercolour. Framed and glazed. Image size 20.5 x 16cm.

A 19th century ecclesiastical triptych travelling religious altar having an gothic mounted arched door case set with mounted botanical brass work. The twin doors opening to reveal a fitted interior with Corupus Christ bronze, bronze of Mary The Mother and of St Joseph.

A large 19th Century Victorian Derby imari decorated tankard of shop display size. The tankard having a gilded loop handle with hand painted cobalt and gilt Imari decoration with botanical borders contrasting the white porcelain ground. Restored, Measures approx; 13cm x 18cm.

A pair of early 20th Century Victoria Austrian porcelain urns / vases. Heavily decorated in relief with botanical sprays and hand painted detailing. Twin scroll handles with the vases being raised on a pedestal plinth. Blue Victoria Austria marks to bases. Measures approx; 37cm tall.

Five botanical oil on canvases by Chung Shek. Each of different flowers including Poppy, Rose, Iris and Anemone. Signed by artist. H.92 W.36cm

AN ENGLISH PORCELAIN BOTANICAL DESSERT SERVICE painted with assorted specimens, surrounded by a moulded and gilt band with further cobalt blue band, and vine moulded handles, including a pair of low tazzas, 7cm high, three larger tazzas, 10cm high, a further two tazzas 13.5cm, a comport, and seventeen plates, pattern 8930 (25) Condition Report: 13.5cm tazza broken and mended badly. 10cm tazzas - one repaired to handle and one cracked. One plate cracked and all plates badly worn to decoration and gilt. Please see images.

Custom Made Luxury Rug In Blue Grey And Cream Hand Tuffed Area Rug Wool / Botanical Silk Made In Portugal 270 x 200cm (Room 102)

Two Lundberg Studios botanical paperweights by Daniel Salazar, dated 2003Comprising a 'Pink Wisteria and Butterflies' weight with a three-dimensional arrangement of pale pink pendant flowers and two butterflies above an iridescent cushion, 7.8cm diam, 6.5cm high, together with 'First Snow in Kyoto', enclosing snow-covered branches of ripe persimmon over an iridescent opaque white bed of snow, initialled 'D.S. in red underneath the ground, 7.9cm diam, 6.7cm high, fully signed, dated 2003 and numbered 021228 and 041906 respectively (2)Footnotes:ProvenanceWith Sweetbriar Gallery Ltd, 6 January 2003 (wisteria)Livingston CollectionFor further information on this lot please visit Bonhams.com

Three botanical paperweights, dated 1997 and 2003Comprising two Lundberg Studios weights by Daniel Salazar, one with yellow columbine over a jade-green ground, fully signed and dated 2003, no.050862, 7.9cm diam, 6.5cm high, and one with a pink camellia and two buds set in clear glass, fully signed and dated 1997, no.103018, 7.2cm diam, 5.7cm high, together with a Ken Rosenfeld weight enclosing a red flower with yellow stamens, on a leafy stem, with a black 'R' signature cane, 6.4cm diam, 4.5cm high, signed KR 2003 (3)For further information on this lot please visit Bonhams.com

Three Victor Trabucco botanical flower paperweights, dated 2001 and 2003The flowers each set onto an upset muslin ground, the earliest with a red and pink fuchsia on a stem with two closed buds, 8.3cm diam, 6.5cm high, the others including one with a pale pink convolvulus or morning glory on a stem with one closed bud, 8.3cm diam, 6.9cm high, and one with a purple pansy on a stem also with one closed bud, 8.4cm diam, 6.2cm high, all signed 'Trabucco' and dated to the bases (3)Footnotes:ProvenanceWith Bernard J Stone, 14 November 2001 (fuchsia)Livingston CollectionFor further information on this lot please visit Bonhams.com

A rare engraved mixed colour twist wine glass, circa 1760-65The bell bowl very finely engraved with a botanical specimen, the stem with a multi-spiral airtwist gauze corkscrew encircled by a single opaque jade-green spiral thread, over a conical foot, 16.8cm highFootnotes:ProvenanceSotheby's sale, 25 May 1993, lot 33Bonhams sale, 2 May 2018, lot 129This fine glass belongs to a series of closely related mixed colour twist wine glasses all with botanical engraving, the stems either with blue, green or opaque green threads. Three glasses from this group, probably engraved by the same hand, were in the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lots 60, 63 and 64. Another with a similar opaque jade-green thread was in the A C Hubbard Jr. Collection sold by Bonhams on 30 November 2011, lot 228. Further examples with related engraving from the Seton Veitch Collection are discussed together in Delomosne and Son's 2006 catalogue, no.43 where a Low Countries origin is suggested.For further information on this lot please visit Bonhams.com

A rare Bow botanical plate, circa 1760Of octagonal shape with a brown rim, fully painted with a large flowering cactus and an 18th century interpretation of a halved dragon fruit at the centre, damsons and a blue flower sprig, a colourful butterfly and various smaller insects interspersed throughout, 20cm wide,Footnotes:A pair of similar plates from the Nelson Rockefeller Collection is illustrated by Anton Gabszewicz, Made at New Canton (2000), p.74, pl.61. On the previous page Gabszewicz notes that 'the rendering of botanical specimens on Bow porcelain is well known for the use of broad artistic license'. The exotic fruit and cactus on the present lot is charmingly painted according to this tradition. Another octagonal plate painted with flowers and insects but not fruit from the M Dudley Westropp Collection was sold by Bonhams on 5 March 2003, lot 68.For further information on this lot please visit Bonhams.com

Custom Made Luxury Rug In Blue Grey And Cream Hand Tufted Area Rug Wool / Botanical Silk Made In Portugal 290 x 200cm (Room 202

Custom Made Luxury Rug In Blue Grey And Cream Hand Tuffed Area Rug Wool / Botanical Silk Made In Portugal 190 x 300cm (Room 102)

Custom Made Luxury Rug In Blue Grey And Cream Hand Tufted Area Rug Wool / Botanical Silk Made In Portugal 270 x 200cm (Room 204)

Custom Made Luxury Rug In Blue Grey And Cream Hand Tufted Area Rug Wool / Botanical Silk Made In Portugal 300 x 190cm (Room 202)

A Portmerion The Botanical Gardens bowl; similar jugs, plates; Masons Mandalay jug; a set of six Coalport Blue Royale coffee cups and saucers; a Royal Doulton Top O the Hill figure; etc

Four various toast racks, comprising an early 19thC Spode Botanical blue and white four division toast rack, 26cm long, a Carltonware Lemons toast rack, 17cm long, a modern Marmite toast rack and a Farmer's Market Border Fine Arts apple toast. (4)

Five bottles of gin comprising The Loch Fyne Botanical gin, Sipsmith of London Sloe gin, Edinburgh Gin Distillery rhubarb and ginger liquor, Needle Black Forest distilled dry gin, and Bols Sloe gin (5).

Quantity of decorative pictures and prints, of botanical and butterfly interest etc

Quantity of framed and glazed pictures and prints, botanical interest etc

Set of 6 decorative blue painted framed and glazed botanical prints

Quantity of framed and glazed pictures of botanical themes

7th-12th century AD. A worked horn with tapering oval-shaped body and openwork frieze composed of two facing peacocks, column of entwined vines between, fruiting vines around, semi-naturalistic detailing to the birds' heads, plumage, wings and tails, repeated on the reverse with subtle variations in execution- a vining tree growing from a gadrooned vase between, the birds enjoying the fruits; register of fruiting vines over pellets above and below. Cf. Darkevich, V.P., Secular Art of Byzantium, Moscow, 1975, p.76, for a magnified image of arcading and foliate detailing similar to that on the horn, in a metallic medium, dated 12th century AD; see Institut du monde arabe, L'art copte en Égypte: 2000 ans de Christianisme : exposition présentée à l'Institut du monde arabe, Paris, du 15 mai au 3 septembre 2000, Paris, 2000, p.198, no.225 for a plaque similarly decorated; see Wamser, L., Die Welt von Byzanz - Europas Östliches Erbe, München, 2004, item 406, for a horn or pyxis with broadly similar foliage decoration; cf. Vassilaki, M. et al., Byzantium 330-1453, Royal Academy of Arts, London, 2009, pp.214-215, for very similar scenes in marble. 61 grams, 10.4cm (4"). Property of a London gentleman; before that in the private collection of a Kensington collector; previously in the collection of Mrs Petra Schamelman, Breitenbach, Germany; acquired from the collection of Fernand Adda, formed in the 1920s-1930s. The Adda family, originally from Alexandria, formed the majority of their collection in the 1920s-1930s. Abraham Adda (b. circa 1855) had three sons, Victor (b. circa 1885-1965) a collector of coins, Iznik and ancient Egyptian objects; Fernand, a collector of Iznik ceramics, and Joseph. The collection has been situated in Europe since before the Second World War; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10926-181058. This work was possibly made in Egypt by Christian people under Islamic rule. It is strongly influenced by Umayyad iconography, in which art finds inspiration in the botanical world. Christian symbols, such as the vine leaves that populate the surface of this exquisite work and symbolise prosperity, are abundant. The small round grains creep into the branches and are food for peacocks, a symbol of Christ's resurrection. The same motif, in 10th century Umayyad Islamic art, is found in the pyxis of Princess Subh, a prized work of Hispanic-Moorish art preserved in the Municipal Museum of Madrid. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

An early 19th century Derby porcelain teacup & saucer with finely painted landscape panels within wide gilt scroll borders, titled: “Near Haywood, Staffordshire”, & “Near Wirksworth, Staffordshire”; an early Minton coffee can painted in iron-red & grey with s spaniel in a landscape titled: “Springer” to base, Sevres-style mark; a Rockingham saucer painted with botanical subject, red griffen mark; a pair of Derby large teacups with painted floral sprays; a Derby 8½” Imari-style plate (cracked); a Chamberlain’s Worcester 8¼” plate painted with flowers; a small Caughley blue transfer cabbage-moulded mask jug, 3½”; four other teacups, an earthenware coffee can, & a silver-resist & puce transfer saucer.

ENGLISH SCHOOL, 19th century. A study of two rabbits, Oil on canvas: 8” x 10¼”, in wide ebonised frame “12¼” x 14¼” over-all); & a 19th century coloured botanical study engraved book-plate, publ. 1803, 8” x 4½”, in glazed frame

Three framed botanical prints of vegetables by Vilmorin Andrieux Cie., each 62cm x 48cm

Various folders containing a quantity of coloured botanical prints, illustrations of Her Majesty's Navy, Daily Telegraph folio of Corbetts Marines and a blue folio containing a quantity of mock up dust covers of HMS Surprise by Patrick O'Brien

Johann Wilhelm Weinmann Weinmannus redivivus emendatus et illustratus, sive Thesaurus rei herbariae. - Recueil de figures enluminées .. contenues dans l'herbier de Weinmann. 4 Bände. Augsburg, J. J. Haid 1787. Neuauflage der Kupfertafeln aus der Phytanthoza iconographia, dem großen botanischen Werk von Johann Wilhelm Weinmann. Die prachtvollen, in Farbe gestochenen und handkolorierten Pflanzentafeln nach G. D. Ehret, J. E. Ridinger, B. Seutter und J. J. Haid, die erstmals 1734-45 in Regensburg herausgegeben wurden, gehören künstlerisch und drucktechnisch zu den Höhepunkten der deutschen botanischen Buchillustration des 18. Jahrhunderts. 'The first botanical to use color-printed mezzotint successfully' (De Belder S. 417 zur Erstausgabe). Der vorliegende Neudruck entstand von den Originalplatten, jedoch ohne den beschreibenden Text. Einband: Halblederbände des frühen 20. Jahrhunderts mit rotem Rückenschild. 44 : 27 cm. - ILLUSTRATION: Mit 4 Kupfertiteln und 1018 kolorierten Farbstichtafeln (von 1025; 14 gefaltet, 1 Tafel in Faksimile ersetzt). - PROVENIENZ: Exlibris Waldemar Schwalbe. LITERATUR: Stafleu/Cowan 17050 Anm. - Isphording 160 Anm. - Vgl. Nissen 2126 Anm. und Pritzel 10139 (kennen nur den von J. Gessner separat hrsg. Index zu dem Werk, Thesaurus rei herbariae locupletissimus indice systematico, Augsburg 1787). 4 vols. Revised edition of Weinmann's famous 'Phytanthoza iconographia', printed from the orignal plates but without the descriptive text. With 4 engr. title pages and 1018 (of 1025; 14 folding, 1 reproduced in facsimile) copperplates, printed in color and finished by hand. 20th cent. half calf with label on spine. - Lacking also the 2 engr. portraits and the engr. frontispiece to vol. II. Partly slightly stained mainly in the margins, the paper edges partly only slightly dusty, 2 plates in vol. IV with tears into the illustration (tulip and grape). Bindings rubbed, extremeties of spine partly with small defects. - Bookplate Waldemar Schwalbe. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Basilius Besler Flos solis maior (Gemeine oder Einjährige Sonnenblume). Kolorierter Kupferstich aus Hortus Eystettensis, Nürnberg und Eichstätt 1613ff. Ca. 50 : 40 cm (Blattformat: 58,5 : 46,3 cm). Blattfüllende Darstellung einer Sonnenblumenblüte in schönem Altkolorit. Eines der Prachtblätter aus dem berühmten Pflanzenwerk über den fürstbischöflichen Barockgarten in Eichstätt. Der Hortus Eystettensis erschien ab 1613 bis 1750 in mindestens 5 Auflagen, wobei die Blumenkupfer immer von den Originalplatten gedruckt wurden. - Umseitig mit der Kapitelüberschrift der 5. Ordnung des Sommers 'Quintus ordo collectarum plantarum aestivalium'. Beautiful fullpage engraving in contemporary colors of a sunflower blossom, one of the major and most decorative plates from the famous botanical work 'Hortus Eystettensis'. With text on verso. - Somewhat tanned and foxed, matted and framed. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

COLOURED BOTANICAL PRINT OF LILIES, F/G, 80CM WIDE

4 original botanical watercolours by Elizabeth Rice. Largest measures 32cm x 40cm.

A QUANTITY OF PICTURES AND PRINTS ETC, to include topographical prints, amateur watercolours and oils, erotic black and white reproduction vintage prints, other subjects include maritime, landscapes and botanical studies etc (2 boxes and loose)

An antique Chamberlain Worcester porcelain Botanical dessert service circa 1830 The majority good, two plates repaired also lid of tureen, some with slight discolouration,wear or hairlines.see pics.

ARMCHAIR, Howard style with botanical print upholstery, 80cm H x 75cm W x 90cm D.

A trio of botanical study prints after Marjorie Blamey (3)

Four ecclesiastical lithographs to/w botanical print (5)

LATE 19th.C. ENGLISH SCHOOL. THREE BOTANICAL STUDIES, WATERCOLOUR. 34.5 x 27cms (3)

CHARLES F ROBINSON (19TH C. ENGLISH SCHOOL) CATTLE WATERING, SIGNED WATERCOLOUR 25 x 35cms, TOGETHER WITH A PAIR OF LATE 19th CENTURY WOODLAND SCENE, OIL PAINTINGS INDISTINCTLY SIGNED AND TWO BOTANICAL PRINTS (5)

A ROYAL WORCESTER BOTANICAL PATTERN DINNER AND TEA SET.

Darren Yeadon (b.1970), Ammonite, Portoro stone, 14 x 16cm. ARR. Portoro literally translates as door to the gold. It is a rare serpentine type of marble. Yeadon travels to a very obscure mountain top quarry in Liguria and picks it up off the ground. Brought up by the sea in Whitby, Darren began his work as a quarryman and stonemason. He developed a real flair and interest in carving stone and three-dimensional forms. Suffering a life-threatening road accident in his mid-twenties caused him to readdress his approach to life and kindled his intense fascination and appreciation of nature and the beauty of our time on earth. He began carving rocks and off cuts from the quarry developing a strong personal style and dedication. He soon began to receive commissions and was sent to Italy to find a marble for a client. Seeking to develop a further understanding of the material he went to live in Carrara preferring the quarries used by Michelangelo. Now established in both Pembrokeshire and Whitby, he continues to work from his studio in many types of stone and regularly goes over to Italy to source Carrara marble. He has held exhibitions at the Staithes Gallery Whitby, Tenby Museum, the Houses of Parliament (January 2004) and the Pembrokeshire Botanical Gardens currently hold a number of his works. For more information http://weirdstones.com/.

Darren Yeadon, (b. 1970), Fish Signed, Carrara marble, 31 x 32cm high. ARR Brought up by the sea in Whitby, Darren began his work as a quarryman and stonemason. He developed a real flair and interest in carving stone and three-dimensional forms. Suffering a life-threatening road accident in his mid-twenties caused him to readdress his approach to life and kindled his intense fascination and appreciation of nature and the beauty of our time on earth. He began carving rocks and off cuts from the quarry developing a strong personal style and dedication. He soon began to receive commissions and was sent to Italy to find a marble for a client. Seeking to develop a further understanding of the material he went to live in Carrara preferring the quarries used by Michelangelo. Now established in both Pembrokeshire and Whitby, he continues to work from his studio in many types of stone and regularly goes over to Italy to source Carrara marble. He has held exhibitions at the Staithes Gallery Whitby, Tenby Museum, the Houses of Parliament (January 2004) and the Pembrokeshire Botanical Gardens currently hold a number of his works. For more information http://weirdstones.com/.

Hooker (Joseph Dalton) Himalayan Journals; or, Notes of a Naturalist in Bengal, the Sikkim and Nepal Himalayas, the Khasia Mountains &c., 2 vol., first edition, half-titles, 12 tinted lithographed or chromolithographed plates (1 folding), 2 folding partly hand-coloured maps at end of vol.1, wood-engraved plates and illustrations, errata slips, 32pp. catalogue at end of vol.1, foxing to chromolithographed plates but tinted plates clean, one or two pencil or crayon markings, shaken and becoming loose, with 6pp. A.L.s. from the author to Mr. Ellacombe dated December 19th 1887 concerning botanical matters loosely inserted in vol.1 and sheet of notes on Himalayan peaks and passes in another (?Ellacombe's) hand in vol.2, original pictorial cloth, gilt with blind-stamped border, rubbed and faded, spines browned, vol.2 worn and defective at head, [Abbey, Travel 503], 8vo, 1854.⁂ With an extensive ALs from Hooker on the subject of fossil botany, including the Ginkgo Tree, "With regard to Salisburia, I was the first to show its strong resemblance of the oval... fruit called Trigonocarpor to that of Salisburia... ." Rev. H.N.Ellacombe (1822-1916), plantsman and botanical author. He exchanged plants from his garden at Bitton, Glos. with Kew and other gardens, and Hooker dedicated vol.107 of the Botanical Magazine to him.

Ireland & India Botany.- Album of botanical watercolours and accompanying manuscript poetry, some signed 'Mamie' others with initials 'M.G.E.' or M.G.McF.', a few with decorative borders rather than botanical subjects, some marginal soiling, silk endpapers, original morocco, gilt initials ?J.H.E. on upper cover, rubbed, folio, Malahide, Dublin, Lucknow, Dinapore etc, 1873-78.⁂ The style, subject-matter and places all strongly suggest that 'Mamie' was from the same family as Frances Elizabeth McFall, to whom we tentatively attributed a very similar album, sold in these rooms, 27 May 2021, lot 94.

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 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

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