We found 14378 price guide item(s) matching your search

An unusual and imposing Japanese silver and hardwood table centre tazza, the shaped circular plateau pierced and chased with chrysanthemums, peonies and leaves, baluster pedestal flanked by three dragon supports, the base carved in relief with conforming botanical motifs, 33.5cm high, 45cm diam, French swan import guarantee mark, Meiji Period

A set of three Minton Botanical shaped circular comports, painted with a tulip, carnation, and petunias, bleu celester borders, the shaped rims and cartouche-shaped bases picked out in gilt with C-scrolls, 23cm diam, impressed marks, c. 1860

A Swansea Botanical circular dessert plate, painted in polychrome with a rose, a carnation, a tulip and further country flowers, white ground, gilt rim, 20.5cm diam, impressed Swansea above a trident, c. 1814

A Derby Botanical shaped circular dish, painted by John Brewer, with Cynoglofsum Omphalodes (Blue Bavilwort), 23cm diam, within bloom band between two gilt rims, 23cm diam, titled in red, pattern no. 212, 1807This is a replacement - it should be marked in blue, as the inscription is in red it is after 1806 Provenance: G Cope Collection label

A Derby circular dessert plate, well-painted with a bouquet summer of flowers, gilt Regency border, 22cm diam, red crown over crossed batons and D, c. 1810; a pair of early 19th century English porcelain shaped circular dessert plates, painted with botanical specimens within a grey leafy branch, ochre border gilt with scrolls, 24cm diam, numbered in puce, c. 1845; others, similar, (3), [6]

A Vanity Fair print dated 1897 signed Sic, a print of Queen Victorian in her later years, botanical prints, a small floral needlepoint, a watercolour of a lake scene and other pictures to include a 'Friends of the Feitz William print' from a 1760's colour woodcut by Harunobu

Trees of Ireland by Nelson & Walsh, (sc); The Garden Plants of Ireland by Nelson; Irish Botanical Illustrations by Butler; Bonnettstown by Bush and Didymosphemia Geminata by Barrie Cooks (5 large format) (5)

A Royal Worcester novelty botanical posy vase, the bowl as giant lotus flower supported by intertwined flowering stems & buds, amusingly applied with a frog & terrapin c.1875

Two boxes of books, including bibliography and ornithology, including Blanche Henry, 3 Vols in 1, British Botanical Horticultural Literature pre. 1800, Flora of Cumberland, Dinosaur eggs and babies, Maynard Reece - His Waterfowl art and his Upland birds art, Gilbert White - History of Selbourne, Ray Society facsimile, etc

A Chinese carved ivory panel, late Qing dynasty, from a table screen, the front with figures in a garden setting in low relief, the reverse with poem above a botanical study, 20.5cm x 10.5cm, two ivory desk seals, a carved ivory cigarette holder and a small ivory carving CONDITION REPORT: Lot contains an element of pre-1947 ivory or other organic material which may be subject to export restrictions

An English porcelain part dessert service, circa 1840, probably Alcock, painted with botanical sprays in a teal border, comprising two comports and eleven plates, together with a set of twelve floral dessert plates CONDITION REPORT: Green service pattern no. 242. Both comports without damage or repairs. The low one has some wear to glaze and enamels. One plate has a repaired break tot he rim, but otherwise the plates are without damage and generally very little wear. The white service, pattern no. 69 - one plate has a crack and another is stained to the centre, otherwise the pates are in very good condition, very little wear, excellent gilding.

After PIERRE-JOSEPH REDOUTÉ, a set of ten botanical prints, 56cm x 38cm each, framed and glazed.

NEW NATURALIST SERIES: 12 titles in mixed condition comprising: E P FORD: BUTTERFLIES, 1962 reprint, No 1, pictorial d/w, laminated onto boards, ex-lib; BRIAN VESEY-FITZGERALD: BRITISH GAME, 1953, Readers Union edition, No 2, original cloth; R S R FITTER: LONDON~S NATURAL HISTORY, 1959, Readers Union edition, No 3, original cloth, d/w (price clipped); JOHN RAMSBOTTOM: MUSHROOMS AND TOADSTOOLS, 1977, new impression, No 7, original cloth, d/w (price clipped); A D IMMS: INSECT NATURAL HISTORY, 1947, 1st edition, No 8, original cloth, d/w (losses); W H PEARSALL: MOUNTAINS AND MOORLANDS, 1971, revised edition, No 11, original cloth, d/w (small part losses); WILFRID BLUNT: THE ART OF BOTANICAL ILLUSTRATION, 1967 reprint, No 14, original cloth, d/w; J E LOUSLEY: WILD FLOWERS OF CHALK AND LIMESTONE, 1976 reprint, Bloomsbury edition, No 16, original cloth, d/w; MALCOLM SMITH: THE BRITISH AMPHIBIANS AND REPTILES, 1969, 4th edition, No 20, original cloth, d/w (price clipped); L HARRISON MATTHEWS: BRITISH MAMMALS, 1963, 3rd impression, No 21, original cloth, d/w (part losses); E POLLARD, M D HOOPER AND N W MOORE: HEDGES, 1975 reprint, No 58, original cloth, d/w; MIRIAM ROTHSCHILD & THERESA CLAY: FLEAS, FLUKES AND CUCKOOS, 1953, Readers Union edition, New Naturalist Monograph No 7, original cloth (12)

NEW NATURALIST SERIES: 9 titles in mixed condition comprising E B FORD: BUTTERFLIES, 1945, 1st edition, No 1, original cloth, d/w (losses); BRIAN VESEY-FITZGERALD: BRITISH GAME, 1946, 1st edition, No 2, original cloth, d/w (price clipped and part losses); R S R FITTER: LONDON~S NATURAL HISTORY, 1945, 1st edition, No 3, original cloth, d/w (losses); JOHN GILMOUR & MAX WALTERS: WILD FLOWERS, 1954, 1st edition, No 5, original cloth; JOHN RAMSBOTTOM: MUSHROOMS AND TOADSTOOLS, 1953, 1st edition, No 7, original cloth; A D IMMS: INSECT NATURAL HISTORY, 1947, 1st edition, No 8, original cloth; A W BOYD: A COUNTRY PARISH, 1951, 1st edition, No 9, original cloth, d/w (price clipped and part losses); W B TURRILL: BRITISH PLANT LIFE, 1948, 1st edition, No 10, original cloth; WILFRID BLUNT: THE ART OF BOTANICAL ILLUSTRATION, 1950, 1st edition, No 14, original cloth (9)

FOUR FRAMED BOTANICAL PRINTS, each 44cm x 56cm overall

Muirhead Bone - limited edition signed botanical print (booklet)- with script by Jocelyn Brooke, unframed, 33 x 21cm

A 'Commonplace Book' belonging to the Tapper family of Cardiff, containing botanical watercolours, manuscript descriptions and poems, together with a vintage writing case, circa 1785

Unknown - A collection of Aesthetic period tiles, to include a seven-tile geometric monochrome panel, with botanical studies, and a ten-tile printed and tinted tile panel, 15cm x 15cm. (17)

Unknown - A Victorian printed and tinted ten-tile botanical panel, possibly Sherwin and Cotton, comprising ten individual tiles, tinted in pink and ochre, 5cm x 15cm, printed number 313 verso. (12)

A pair of Coalport ornithological shaped circular comport saucers, painted by John Randall, with an eagle and an albatross, 21.5cm diam, c. 1855, (lacking pedestals), (2); a Flight, Barr & Barr Worcester shell-shaped dish, richly painted in the Imari palette, 19.5cm diam, impressed marks, c. 1820; a Mason's style Imari Campagna-shaped vase, 15cm high, second-half 19th century; a pair of Copeland botanical shaped circular dessert plates, 23.5cm diam, printed marks; an English porcelain flower basket, c. 1840; an early 19th century cache pot, possibly Herculaneum, 10.5cm high, [8]

A Royal Crown Derby Named-View shaped circular cabinet plate, Ross Castle, painted by William Mosley, signed, gros bleu border with a band of tooled gilding, gilt rim, 23cm diam, titled in carmine script, impressed and red printed marks, date code for 1909; a Coalport botanical plate, 26.5cm, printed marks, c. 1910, [2]

CARTON CONTAINING NEEDLEPOINT FLORAL PANELS, CERAMIC PLAQUES OF FAMOUS PAINTINGS, EIGHT OVAL BOTANICAL STUDIES AND OTHERS

Botanical watercoloursfour framed works, Two works signed: Maria Grey 1795 & Selina CottsTogether with two avian prints: Trogon Ambiguus by J & E Gould &Sedge warbler by H L MeyerProvenance: From the estate of print collector Joe Graffy

An early Victorian dessert service, comprising of two large and two smaller comports plus four plates, each having turquoise meandering borders, the centre of each piece enamelled with a botanical specimen. Height of tallest comports 16cm, diameter 26cm.Condition report: Condition is very good, the two largest comports have slight internal scratching to the porcelain and decoration, please see the extra images on David Lay website.No damage noted.

A set of six Victorian Bishop and Stonier dessert plates, each with shaped and moulded gilded pink border, the centre of each decorated with a botanical specimen, and having impressed mark and painted numerals A1361 0 to base. Diameter 25cm.Condition report: One plate has four chips to the underside of the rim, another has a glued break to the edge and a hairline to the foot rim, another plate has a hairline crack, all have some scratching. Please see extra images on David Lay website.

Walter Taylor (1860-1943) A still life of anenomes and Crysanthemums in blue glazed vase, signed, oil on board, together with a set of four hand coloured botanical prints, a floral watercolour, various Chinese silk paintings of flowers and birds etc, 39cm by 33cm & various other sizes

Victorian leather bound and gilt metal mounted gothic design album having porcelain panel of a cherub, hand painted to the front, the interior revealing various botanical studies; ferns, flowers etc. (B.P. 21% + VAT)

A collection of furnishing pictures and prints to include unframed abstract oils on canvas, botanical floral studies, reproduction map etc. (11)(B.P. 24% incl. VAT)

WILLIAM CURTIS: 'THE BOTANICAL MAGAZINE; OR, FLOWER-GARDEN DISPLAYED', LONDON 1787, Vol 1 (only) incomplete, some damage, lacking some plates

Anton Hartinger, four boxed volumes, ' Atlas Der Alpenflora ' published Wien, 1884, each box containing a large quantity of botanical prints, the gilt tooled boxes with wear and one replacement spine

19th Century English botanical plate, a Continental bisque figure of a bathing belle, a miniature moss ware jardiniere, Continental porcelain floral decorated dish, glass ' Jack in the Pulpit ' vase, a small Venetian glass vase and a modern scent bottle

Sir William Russell Flint Limited Edition print, lady beside a candelabra, No. 455 / 850, together with three other Russell Flint prints and a pair of botanical prints

Two Chinese paintings on rice paper, botanical study with butterfly and similar study with yellow blossom, largest 6ins x 10.5ins

Group of nine 19th Century coloured botanical engravings after Sansom, housed in three frames

A group of assorted modern colour prints, mainly botanical studies

A selection of ceramics by Portmeirion in the botanical design three small bowls one large fruit bowl and two mugs all good

A quantity of engravings and prints by various artists including Gillian Waite, various subjects including botanical studies, all unframed.

A group of stoneware bottles, to include to large examples detailed Magdale Vinery Limited Quality Wines, two smaller marked Harry Holgate City Beverages Whithall Road Leeds, and James Thompson Botanical Brewer Great Horton Bradford, and three smaller unmarked, largest including carry handle H47cm.Click here to view further images, condition reports, sale times & delivery costs for this lot.

A pair of Derby botanical plates, circa 1810, painted with named flowers 'Three Leaved Toadflax' and 'Pendulous Catchfly', crowned crossed and 'D' marks in blue and numbered '115', 21.5cm diameter (2) Condition Report: Both with some rubbing to raised gilding, catchfly with mild wear to painted decoration Condition Report Disclaimer

REDOUTE, P. J: A pair of hand coloured botanical studies, size 290 x 220mm, f & g, c1830s.

CURTIS, William - The Botanical Magazine; or, Flower-Garden Displayed : 9 vols, 432 hand coloured plates, half calf several with defective spines, final volume in full calf, contents clean, tall 8vo, 1787-95.

R. Blackwell, "St. Johns", oil on board Isle of Man scene, housed in a gilt frame, the oil 18.5cm x 13.5cm; Black and white print titled "Felixstowe 1907", another "Wolsey Terrace Felixstowe", coloured print "Felixstowe c.1899", four botanical prints depicting apples, pears and flowers, raised floral picture (9)

R Gibb, (19th Century British school), pencil sketch of trees by a stream, housed in a gilt and glazed frame, the pencil 15cm x 24cm; Botanical print housed in a gilt and glazed frame, circular needlework panel housed in a gilt and glazed frame, black and white print of Charlie Chaplin housed in a glazed clip frame (3); Three black and white prints, to include Lincoln Cathedral, Regulus leaving Carthage and a continental street scene, all housed in gilt frames (3)

Tamsin Relly I Am Plant I, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 20cm (5¾ x 7¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Tamsin Relly I Am Plant II, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Tamsin Relly I Am Stardust I, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Tamsin Relly I Am Stardust II, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Alida Rodrigues Hold Your Head High, 2021 Mixed Media Collage on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   Born 1983, Angola - Lives and works in London Works within the medium of collage are created from cuttings of botanical illustrations and found images applied to 19th century postcards, carte de visite, and cabinet cards. They are peculiar, grotesque and strangely beautiful re-imaginings the human form.   By using botanical illustrations to show the exoticism of the plants referencing the distant land they originated from, for example Africa, South America and Asia while mainly focusing on the lack of photographic images, showing people of different ethnic groups which were mainly kept in museums or hidden away in storage.   The work focuses on loss of identity, and it poses questions about the "sense of belonging" or "sense of un-belonging" that is familiar with those who have experienced living in a country they may or may not have been born into as well as hidden history which has been taken away from them. I am interested in the hidden historical position of the 19th century photographs, as a relic of the colonial period. By transforming the portraits with plant elements, I interfere and disrupt the narrative of the image, and its associated histories.   Education   BA Fine Art, The Slade School of Fine Art, London, UK 2007   Exhibition   Solo Exhibitions Trondheim Kunstmuseum, Trondheim, Norway 2014   Selected Group Exhibitions Forthcoming MSN Museu Noguiera da Silva, Braga, Portugal 2021 Discursos de Colonialidade This Is Not A White Cube/Not a Museum, Lisbon, Portugal 2020 Taxidermia do Futuro, Museu Nacional de Historia Natural de Angola(SIEXPO), Luanda, Angola 2019 Intersections Within The Global South Galeria Banco Economico, Luanda, Angola 2019 Mythopoeia Tiwani Contemporary, London, UK 2015 Interchange Junctions, Howick Place, London, UK 2015 Residencies Iniva(Institute of International Visual Arts), London, UK 2014   About the postcard artworks   Each piece focuses on the idea of women's growth through the eyes of various plants.  

Alida Rodrigues I Am Growth, 2021 Mixed Media Collage on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)     Born 1983, Angola - Lives and works in London Works within the medium of collage are created from cuttings of botanical illustrations and found images applied to 19th century postcards, carte de visite, and cabinet cards. They are peculiar, grotesque and strangely beautiful re-imaginings the human form.   By using botanical illustrations to show the exoticism of the plants referencing the distant land they originated from, for example Africa, South America and Asia while mainly focusing on the lack of photographic images, showing people of different ethnic groups which were mainly kept in museums or hidden away in storage.   The work focuses on loss of identity, and it poses questions about the "sense of belonging" or "sense of un-belonging" that is familiar with those who have experienced living in a country they may or may not have been born into as well as hidden history which has been taken away from them. I am interested in the hidden historical position of the 19th century photographs, as a relic of the colonial period. By transforming the portraits with plant elements, I interfere and disrupt the narrative of the image, and its associated histories.   Education   BA Fine Art, The Slade School of Fine Art, London, UK 2007   Exhibition   Solo Exhibitions Trondheim Kunstmuseum, Trondheim, Norway 2014   Selected Group Exhibitions Forthcoming MSN Museu Noguiera da Silva, Braga, Portugal 2021 Discursos de Colonialidade This Is Not A White Cube/Not a Museum, Lisbon, Portugal 2020 Taxidermia do Futuro, Museu Nacional de Historia Natural de Angola(SIEXPO), Luanda, Angola 2019 Intersections Within The Global South Galeria Banco Economico, Luanda, Angola 2019 Mythopoeia Tiwani Contemporary, London, UK 2015 Interchange Junctions, Howick Place, London, UK 2015 Residencies Iniva(Institute of International Visual Arts), London, UK 2014   About the postcard artworks   Each piece focuses on the idea of women's growth through the eyes of various plants.

Alida Rodrigues I Am More than What You See, 2021 Mixed Media Collage on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)     Born 1983, Angola - Lives and works in London Works within the medium of collage are created from cuttings of botanical illustrations and found images applied to 19th century postcards, carte de visite, and cabinet cards. They are peculiar, grotesque and strangely beautiful re-imaginings the human form.   By using botanical illustrations to show the exoticism of the plants referencing the distant land they originated from, for example Africa, South America and Asia while mainly focusing on the lack of photographic images, showing people of different ethnic groups which were mainly kept in museums or hidden away in storage.   The work focuses on loss of identity, and it poses questions about the "sense of belonging" or "sense of un-belonging" that is familiar with those who have experienced living in a country they may or may not have been born into as well as hidden history which has been taken away from them. I am interested in the hidden historical position of the 19th century photographs, as a relic of the colonial period. By transforming the portraits with plant elements, I interfere and disrupt the narrative of the image, and its associated histories.   Education   BA Fine Art, The Slade School of Fine Art, London, UK 2007   Exhibition   Solo Exhibitions Trondheim Kunstmuseum, Trondheim, Norway 2014   Selected Group Exhibitions Forthcoming MSN Museu Noguiera da Silva, Braga, Portugal 2021 Discursos de Colonialidade This Is Not A White Cube/Not a Museum, Lisbon, Portugal 2020 Taxidermia do Futuro, Museu Nacional de Historia Natural de Angola(SIEXPO), Luanda, Angola 2019 Intersections Within The Global South Galeria Banco Economico, Luanda, Angola 2019 Mythopoeia Tiwani Contemporary, London, UK 2015 Interchange Junctions, Howick Place, London, UK 2015 Residencies Iniva(Institute of International Visual Arts), London, UK 2014   About the postcard artworks   Each piece focuses on the idea of women's growth through the eyes of various plants.

A 1920's coopered plant stand 60cm high and 65cm wide, a wash pail and bowl Losol ware, a bronzed standing female figure and a botanical decorated Chinese style vase (qty)

AFTER L STROOBANT A coloured botanical print of a lotus flower, other comparison prints and three other botanical prints (7).

QEII pre decimal fdc and presentation pack collection including Forth Road Bridge (no wrapper) botanical, Churchill B.O.B etc mixed condition

19TH CENTURY ENGLISH SCHOOL A botanical specimen, watercolour with body-colour, 55 x 38cm, and three further watercolour botanical studies, one Indian c.1805 (4)

A PAIR OF COALPORT BOTANICAL PLATES, C1825, PAINTED IN BRIGHT ENAMELS WITHIN COBALT AND GILT GRAPEVINE BORDER AND GILT GADROONED RIM, 26.5CM DIAM, IMPRESSED 2 Condition reportGood condition

AN ENGLISH PORCELAIN BOTANICAL DESSERT SERVICE, WITH PIERCED AND MOULDED BORDER, THE MUSHROOM GROUND WITH SHADED BLUE AND SEAWEED GILT DECORATION, THE SERVICE INCLUDING A COMPORT 18CM H, PATTERN 5260 (13) Condition reportLocalised light wear, mainly to the gilt cavetto around the plates

Bartram (William). Botanical and Zoological drawings, 1756-1788, 1st edition, Philadelphia: The American Philosophical Society, 1968, 59 coloured & black and white plates, publishers original cloth in dust jacket, slight wear to head of the covers, folio, together with; White (Tim). Chiaroscuro, 1st edition, London: Guild Publishing, 1988, numerous colour illustrations throughout, original cloth in dust jacket, large 8vo, and Rawls (Walton). Currier & Ives America, 1st US edition, New York: Abbeville Press, 1979, Many coloured/black & white illustrations, publishers original cloth, folio, plus other 20th-century art & Architecture including Scottish church architecture by J.S. Coltart, The Arts of Japan by Hugo Munsterberg, the contemporary decorative arts from 1940' to the present day by Philippe Garner, mostly original cloth in dust jacket and original cloth, G/VG, 8vo/folioQty: (5 shelves )

A large collection of Portmerion bone fine china ceramic ware to include a large Botanical Gardens Floral pattern cups and saucers together with nine large mixed cups and saucers. Makers stamp to the underside. 

WE Phillips (20th century British) - View of the Roman Baths at Bath, oil on canvas, signed, 55 x 75cm, together with further works by the same hand comprising an oil on canvas of a river scene, 50 x 60cm and four botanical watercolours, subjects including Pansies, Cyclamen, Primroses, etc, max size 23 x 16cm approx, all framed (6)

The Botanical Garden by Roger Phillips and Martyn Rix, published by Macmillan in two volumes complete with slip case