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Click here to subscribeA collection of 1980s porcelain pieces by Vivienne Legg, comprising two vases of bulbous form with veined botanical lines, a bowl with pierced design to border, a small squat vase with pierced rim and marbled green decoration, and a plate with pierced decoration to the raised rim, largest vase 13.5 cm high x 19 cm diameter
A harlequin set of six Spode plates painted with botanical specimens by A. Ball, circa 1920s, individually titled to verso, 24cm diameter (6)Condition report: Some light surface scratches and patches of rubbing to overall grounds. No damages or repairs. Each affixed with adhesive disc hanger.
CURTIS, William, The Botanical Magazine or Flower-Garden Displayed, 42 vols bound in 10, with interleaved index vol, 1787 - 1816. Text and plates have been bound according to the systematic system, as recommended in the preface to the index, eg Monogynia, hexandria, pentandria, heptandria etc.Text pages facing plates have been numbered by hand from 1 - 1775, although there are a few more plates as some have been given 'a' and 'b' numbers. Index vol has been adapted for this set. With 1775 hand coloured plates, some folding. Plates are generally very clean. Bindings are in poor condition but text blocks are tight. 10 vols plus index (11) (box)
SERVICE "FLORA DANICA". Royal Copenhagen. Meister/Entwerfer: Modell J.C. Bayer. Technik: Porzellan, farbig und gold staffiert. Beschreibung: Insg.78 Teile, bestehend aus: 8 Esstellern, 8 Suppentellern, 8 Kaffeetassen mit 8 UT, 8 Kuchentellern, 10 Mokkatassen mit 10 UT, 10 Gebäcktellern, 1 Zuckerdose, 1 Sahnegießer, 1 ovaler Bonbonniere, 1 großen runden Platte, 1 gr. ovalen Fleischplatte, 1 rechteckigen Gemüseschüssel, 1 Sauciere mit festem Untersatz, 1 großen ovalen Terrine. Marke: Manufakturmarke, div. Jahreszeichen und Modellnummern, teilweise lateinische Pflanzenbezeichnungen. Flora Danica (lat. Dänische Pflanzenwelt) ist der Name eines botanischen Atlasses, der1753 von Christian Oeder, dem Direktor des Botanischen Gartens in Kopenhagen, begonnenwurde. Es dauerte 122 Jahre bis die gesamte Flora des dänischen Staates in der Art eines Herbariums erfasst - und die umfassende Enzyklopädie fertig gestellt wurde. 1790 bestellte der dänische Kronprinz und spätere König Friedrich der VI. ein umfangreiches Speiseservice bei der königlichen Porzellanmanufaktur in Kopenhagen das nicht nur den Namen, sondern auch die Motive der 'Flora Danica' tragen sollte. Gedacht war es als Geschenk für die russische Zarin Katharina II., die jedoch bereits 1796, vor der Fertigstellung des Services im Jahr 1802, verstarb. Somit seiner ursprünglichen Bestimmung beraubt, wurde das Service vom Dänischen Hof behalten, wo Teile davon bis Heute zu Staatsbanketten in Schloss Christiansborg gedeckt werden. Erläuterungen zum KatalogRoyal Copenhagen Dänemark Porzellan 20. Jahrhundert Service LARGE PORCELAIN SERIVCE "FLORA DANICA". Royal Copenhagen. Maker/Designer: Model J.C. Bayer. Technique: Porcelain, enriched in colours and gold. Description: In total 78 pieces consisting of: 8 dinner plates, 8 soup plates, 8 coffee cups with 8 saucers, 8 dessert plates, 10 mocha cups with 10 saucers, 10 pastry plates, 1 sugar bowl, 1 cream jug, 1 oval bonbonnière, 1 large round serving dish, 1 large oval meat dish, 1 rectangular vegetable bowl, 1 sauce boat with attached saucer, 1 large oval tureen. Mark: Manufacture mark, various year marks and model numbers, most pieces inscribed with Latin plant names. Flora Danica (lat. Danish flora) is the name of a botanical atlas that was started in 1753 by Christian Oeder, director of the Botanical Garden in Copenhagen. It took 122 years until the entire flora of the Danish state was recorded in the manner of a herbarium - and the extensive encyclopedia was completed. In 1790, the Danish Crown Prince and later King Frederick VI ordered an extensive dinner service from the Royal Porcelain Manufactory in Copenhagen, which was to bear not only the name but also the motifs of 'Flora Danica'. It was intended as a gift for the Russian Tsarina Catherine II, who died in 1796, before the service was completed in 1802. Thus deprived of its original purpose, the service was kept by the Danish Court, where parts of it are still used for state banquets at Christiansborg Castle. Explanations to the Catalogue
Carrie Lees (b.1966) Snowdrop Signed verso Limited edition giclée print 56 x 40.5cm (63.5 x 48cm including frame) Horatio's Garden will receive 100% of the hammer price on this lot. Carrie Lees trained as a fine art photographer at St. Martins and the Black and White School of Photography with Natasha Bult, where she immersed herself in traditional printing techniques, producing exhibition quality work. Her landscape and travel work have featured in many group exhibitions, such as the Thackeray Gallery, and in various Condé Nast publications. Carrie subsequently worked as a successful portrait photographer for many years. She developed techniques that focussed on manipulation of natural light to create timeless images and printed using museum quality papers. More recently she has experimented with using these skills and the same traditional methods to create similar "portraits" of plants. She is drawn to the beauty and fragility of the botanical world and aims to produce simple but structural images to portray the living essence of the plants themselves. This can be seen both in her latest photographs and cyanotype prints.
Hitomi Hosono (Japanese, b. 1978) A Kaze and Hawthorn Bowl Signed on the base Moulded, carved and hand-built porcelain with an interior of dancing sprigs, 2020 13cm high x 15cm diameter This lot is subject to VAT on the hammer price. Horatio's Garden will receive 50% of the hammer price. "I receive inspiration from greenery in East London. Often when rambling with my friend I discover interesting plants; touching them to feel the texture and to examine the structure. First, I design a leaf or flower sprig by studying organic botanical forms. I analyse the plant forms by looking, touching, and drawing. I examine how the veins of a leaf branch and how its edges are shaped. After the completion of original sprig models and the plaster moulds, I press-mould hundreds of leaf sprigs in porcelain and carefully and patiently carve the finer details. I then apply the porcelain leaves in layers onto a form thrown on a potter's wheel. I apply the leaves so densely that the underlying shape is entirely hidden, like the multitude of green leaves, which obscure the branches of a tree. It is my intention to transfer the leaf's beauty and detail into my ceramic work, using it as my own language to weave new stories for objects."
Lady Ann Fraser Autumn Leaves Watercolour Signed and dated Ann Fraser October 2018 (lower right) 61 x 73.5cm (including frame) Horatio's Garden will receive 100% of the hammer price on this lot. Not having had the opportunity to study art as a youngster Lady Ann Fraser went to Edinburgh College of Art in the 1980s as a mature student for four years to study Drawing and Painting. Having completed the course, where you were not encouraged to choose botanical subjects, she went to do a general course in watercolour painting at the Royal Edinburgh Botanical Garden with John Mooney and Paul Nesbit. She had her first solo Exhibition in London in London in 1991 at The Malcolm Innes Gallery and since then has exhibited widely in Scotland and London. Her work features in 'Contemporary Botanical Art' by Shirley Sherwood and is represented in many private collections. In May 2019 she had her third solo Exhibition at The Rountree Tryon Gallery in Petworth and St. James's, London. She has been awarded a Silver, a Silver Gilt and a Gold Medal by the Royal Horticultural Society.
Virgilius Maro (Publius) The Georgicks, list of subscribers, 2 hand-coloured engraved maps (one double-page) and 10 hand-coloured plates (5 botanical colour-printed and finished by hand), for the editor, by Richard Reily, 1741; The Bucolicks, engraved portrait, title in red & black, 2 hand-coloured engraved maps (one folding) and 2 hand-coloured plates, by R.Reily, for T.Osborne, 1749, together 2 vol., both translated and edited by John Martyn, woodcut head-pieces and initials, title of the first lightly browned, occasional soiling, later bookplate of Melville Portal of Laverstoke, uniform contemporary panelled calf, gilt, spines gilt with volumes misnumbered, rubbed, a few scuffs, spines slightly worn at head, vol.2 with split to upper joint, 4to (2)
Brookshaw (George) A New Treatise on Flower Painting, or, Every Lady Her Own Drawing Master, hand-coloured stipple-engraved frontispiece, 8pp. of colour samples, engraved plate of exercises, 19 hand-coloured stipple-engraved plates, the first five only with additional plate in uncoloured state, lacks all text after p.40 (?3 leaves), a little foxed and soiled, one plate torn affecting image, a few others torn or frayed at fore-edge (rather crudely repaired), with 2 original botanical watercolours bound amongst plates and another loosely inserted (the last soiled and stained, creased), also 4pp. letterpress "Lesson II. Tulip..." from another later work, modern half green morocco over marbled boards, gilt-stamped calf label to upper cover, [cf.Abbey, Life in England 96, dated 1818 described as "first edition"; Henrey 518; Nissen BBI 246, all later editions], 4to, for the Author, 1812; sold not subject to return⁂ Rare work, seemingly first published anonymously in 1797 [Henrey 1167] and then under the pseudonym of G. Brown 1799-1803 [Henrey 522], but this is the first edition under Brookshaw's name. The only 3 copies of this date traced at auction call for 12 plates each in two states (coloured and uncoloured). Two of those copies contained a supplement dated 1817 with a further 8 plates in two states. This could explain the additional number of plates present in this copy.There is no copy listed on Library Hub or WorldCat.
Ireland & India Botany.- [?McFall (Frances Elizabeth, novelist and women's rights campaigner, 1854-1943), "Sarah Grand."] [Album of botanical watercolours and accompanying manuscript poetry], 25pp., each page with a watercolour wash flowering plant and accompanying religious poetry, some foxing, silk endpapers, original morocco, gilt, gilt initials "F.E. Mc F" on upper cover, rubbed, upper cover detached, g.e., large 4to, 1879-84.⁂ Possibly Frances Elizabeth McFall, born in Donaghadee, Co. Down, Ireland. In 1870 at the age of 16 she married David Chambers McFall (1834/5-98), an army surgeon stationed in India. From 1873 to 1878 they lived in India and travelled in the Far East. Some of the watercolours are dated and are located at Malahide and Belfast in Ireland, and Benares and Dinapore in India.
19th century AD. A vellum scroll comprising three sheets joined together, bearing neat and regular lines of red and black inked script, together with associated images; the text includes prayers for barya and evil eye, and for Shotäläy and magical machination; the images represent a (partial) guardian angel; a picture of a figure with two birds, a sun and moon; and a crossed hand; the owner's names are given as Wällättä Maryam Beré and Beré Lämma.70 grams, 1.43m (56 1/4"). Ex central London gallery; previously in a UK private collection, acquired circa 1990; accompanied by a collector's cataloguing page.The prayers and text are Christian, and the demonology associated primarily with the Old Testament, such as the book of Enoch, referencing alternative names for God and the talismans for exorcising devils from those possessed. King Solomon's beheading of the demon blacksmith is central, the 'Net of Solomon' being a frequently cited prayer in such scrolls, along with Alexander the Great , and the Saints of the Ethiopian Orthodox Church. The sick looked upon such scrolls as it was believed that the images contained in them had healing powers. The scrolls were prepared by unordained clerics, or debatras, employed by Christian families, a practice which continued into the 20th century. Debatras were skilled at diagnosing the causes of illness, and treated them through scrolls such as that offered here, together with herbal and plant-based remedies; the images and prayers were believed to act on the spiritual source of the ailment, whilst the botanical remedies acted upon the physical symptoms. The scrolls covered the length of the afflicted person's body, providing preventative as well as curative protection and were often passed down through generations of the same family. The patients were often illiterate peasants, and the scrolls written in archaic Ge'ez, a liturgical language comprehended only by clerics; the debatras explained the prayers and the images to the sick. The images are designed to be mesmeric, the penetrating gaze of eyes from within the design giving them a sense of power. [No Reserve] Fine condition.
A collection of continental and other ceramics including a Portuguese vase with sepia painted castle decoration, 18 cm approx, Portuguese coffee cans with pink printed decoration comprising three cans and five saucers, Royal Worcester botanical coffee wares and saucers designs including daisy, pinks, polyanthus, etc, collection of small trinket boxes and other miniature ceramics, etc (collection)
TWO BOXES AND LOOSE SUNDRY ITEMS etc, to include modern advertising tins - Yorkshire Tea, Colmans Mustard, Glen Morangie miniature tin etc, Retro style radio, brass trinkets, painted wooden candlesticks, decorative Duck, assorted pictures including Gordon Allen Harbour scene oil on canvas, unsigned oil on board of cottages, botanical study prints, Maritime prints etc
English School (19th century) Scrap album containing 70 drawings and watercolours, including competent landscapes, botanical and travel subjects, variously signed and initialled, including one signed 'Elizabeth Anderson/ ...1843', various sizes, neatly presented on album leaves of various colour, interleaved with tissue guards, red morocco, rebacked, upper cover gilt, 4to, [circa 1830s-1840s].
NO RESERVE J.M.W Turner and Ruskin.- Wardour (Elizabeth) and others. Album containing 57 drawings and watercolours, including landscapes, botanical studies, portraits, and with 12 watercolour studies after drawings and paintings by J.M.W. Turner, one inscribed underneath 'the pencil lines by Ruskin', various sizes, most neatly tipped onto album leaves, some scattered spotting and surface dirt, a few images lifting off from album leaf, bookplate of J.P. Turbervill to front pastedown, with ink inscription, rebacked, cloth boards gilt, worn, 4to, [late 19th century]
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