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Collection of botanical books, comprising: Alpine Flowers for English Gardens, W. Robinson, London: John Murray, 1870, publisher's gilt blue cloth; Wild Flowers Month by Month in Their Natural Haunts, Edward Step, in two volumes, London: Frederick Warne & Co. Ltd., no date, gilt green cloth, and the same in 11 parts (publisher's paper covers); Wild Flowers, Anne Pratt, in two volumes, London: Society for Promoting Christian Knowledge, no date, gilt cloth; Nature Rambles, Edward Step, three volumes, London: Warne, 1930, green cloth; A Textbook of Botany for Students, Amy F. M. Johnson, London: Allman & Son, no date, in one carton

THE BOTANICAL GARDEN VOLUMES 1 & 2 ROGER PHILLIPS AND MARTYN RIX

A Japanese lacquer and 'shibayama' table top shodhana, the asymmetrical arrangement of shelves, doors and drawers applied with birds, wisteria and other botanical specimens, shaped apron, scroll feet, 98cm high, 62cm wide, Meiji period

A Coalport eight piece dessert service, comprising two oval serving dishes and six plates, each hand painted with a botanical spray, cobalt blue and gilt scroll border, printed mark, c.1900

A George/William IV Gothic Revival mahogany four-fold decoupage dressing screen, each pointed arched panel decorated in polychrome with ornithological, botanical and zoological specimens, blind tracery and draught-turned roundels to angles, carved fern pediments, 195cm high, 204cm wide overall, c.1830

A Derby botanical shaped oval serving dish painted with an iris and attributed to William 'Quaker' Pegg, circa 1800, within a pale pink border, 30.5cm in length, blue script marks, titled verso, pattern number 212, 30.5cm in length Provenance: Private Collection, Wantage

FIVE BOXES AND LOOSE OF MOSTLY KITCHENALIA, including Viners pans, cafetieres, metal kettle shaped flasks, stainless steel cheese graters, utensils etc, baking tins, boards, mixing bowls, stainless kitchen roll holders, two wooden trays, stoneware 'Westfield Botanical Brewery' flagon with cork, Kitchen Devil knives, stoneware inks, etc

A rare Chelsea red anchor 'Hans Sloane' botanical dessert dish, c.1755, length 22.5cm Condition: The dish is missing a section of the tip at one end with two other smaller chip losses and associate cracks, the dish has been broken into several sections and re-fixed including some old rivet repairs visible underneath.

FINE TABRIZ DESIGN LONG RUNNER, 640cm x 85cm, all over botanical field within corresponding borders.

TROWBRIDGE GALLERY BOTANICAL PRINTS, sunflower and artichoke, after Besler, gilt framed and glazed, 84cm x 74cm. (2)

Great Britain 1964 (5th August) - Botanical Congress, Non Phos set, Lincoln, c.d.s. FDC, A/B

A collection of framed items to include: Religious landscape and Laura Ashley botanical theme (4)

Victorian caricatures.- Scrap album with 24 finely executed original cartoons and satirical drawings, all by the same competent hand, including a copy of a well known caricature of Disraeli, other possible copies after similar published wood-engravings, and others presumably of the artist's own designs, showing character studies, humorous scenes and plays on words, satires on dress and parties, sports and holiday activities, and many other activities of daily life, pen and brown inks on wove paper album leaves, one monogrammed 'E.W.', a pencil landscape signed 'N. Williams', with several other less competent botanical studies at the beginning of album, each album leaf approx. 270 x 380 mm. (10 5/8 x 15 in), surface dirt, spotting and handling creases throughout, some ink offsetting and show-through visible, a few album leaves loose, original green cloth, spine splitting with loss to foot, very worn and rubbed, [circa 1870s].

Park (Mungo) Travels in the Interior Districts of Africa...in the Years 1795, 1796, and 1797, 2 parts in 1 vol., including Appendix, first edition, half-title, list of subscribers, stipple-engraved portrait frontispiece, 3 engraved maps / charts (one with routes supplied in red and blue), 5 engraved plates (2 botanical), postscript f., 2 ff. of music, half-title to appendix, half-title and portrait loose, offsetting, some spotting or light foxing, contemporary calf, gilt, rebacked, preserving original gilt backstrip in compartments, corners worn, rubbed, W.Bulmer and Co. for the Author, 1799; and a second edition of his Journal of a Mission to the Interior of Africa, 1815, uniformly bound with first mentioned, 4to (2)

Botany.- Roses.- Lindley (John) Rosarum Monographia; or a Botanical History of Roses, first edition, half-title, 1 plain and 18 hand-coloured engraved plates, tissue guards, advertisement f. at end, offsetting, some spotting, modern red half calf, gilt spine in compartments and with black morocco label, [Nissen 1204], small 4to, for James Ridgway, 1820.

Scrap album of a Royal Navy career.- Dunlop (Martin Julius, naval officer, Admiral, 1839-1911) Scrap album, ephemera, including: newspaper cuttings, ALs from Dunlop to his mother as a naval cadet, souvenir card of the loss of HMS Captain off Finistere, 2 programmes, calling cards, invitations, 9 photographs (1 of a tennis party, and Dinan in Brittany), documents in Chinese, botanical specimens etc., 61pp. excluding blanks, a few ff. loose, slightly browned, original leather, rubbed, remains of newspaper cuttings on both covers, sm. 4to, 1862-80.⁂ Dunlop was promoted to the rank of Lieutenant on 28 August, 1862.Dunlop was promoted to the rank of Commander on 17 February, 1874.Dunlop was promoted to the rank of Captain on 23 June, 1880.Dunlop was appointed in command of the armoured cruiser Australia on 19 November, 1889.[1]Dunlop was retired on account of age on 31 October, 1894 per Order in Council of 22 February, 1870.Dunlop was promoted to the rank of Rear-Admiral (retired) on 9 November, 1895.Dunlop was promoted to the rank of Vice-Admiral (retired) on 15 June, 1901.

A collection of early 20th Century stoneware advertising flagons of various shapes and sizes in two tone stoneware colourways with advertising atop to some. Advertising includes 'J.M Vernon Northampton & Towcester', 'Andrews Bros Botanical Brewers Bristol', 'W.B.Peck & Co Bristol' etc.   

Botany.- 3 albums of botanical samples, most ff. with multiple samples, captions opposite, some spotting or staining, contemporary cloth albums, oblong 4to, 1947.

A collection of botanical prints, some possibly 19th century - NO RESERVE

§ BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) NORTHERN SEASCAPESigned in pencil, watercolour (Dimensions: 51.5cm x 49cm (20.25in x 19.25in))Provenance: Compass Gallery, Glasgow Biography: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group around J.D. Fergusson in 1942 - a group joined together by shared left-wing views and influences from contemporary art in continental Europe. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is housed in numerous public and private collections.

§ VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) AND DOVECOT STUDIOS DESIGN WITH REDWool tapestry (Dimensions: 33cm x 30cm (13in x 11.75in), image size)Provenance: Dovecot Tapestry Studios , Edinburgh Note: This is an experimental sample, created in collaboration between the artist and weavers at Dovecot Studios. There was some discussion about a collaboration, and Victoria Crowe provided a painting as an inspiration – some design elements from the original painting were included in the piece, as well as some re-workings and additions by the weavers involved. Biography: Victoria Crowe is one of Scotland's most significant living artists. Her ability to skilfully weave together landscape, portraiture, still life, and interiors make her artwork both highly desirable and instantly recognisable. She has achieved International status and recognition due to many high-profile exhibitions and notable commissions, including portraits of poet Kathleen Raine, composer Thea Musgrave, Professor Peter Higgs, a double portrait of the Duke and Duchess of Buccleuch, and HRH Prince Charles. Crowe beg;an her artistic career at the age of 16 when she attended Kingston School of Art, followed by the Royal College of Art, London. Robin Philipson, who was then Head of the Edinburgh College of Art, saw her degree show in 1968 and immediately offered her a teaching post in Edinburgh, where she subsequently taught drawing and painting for thirty years. She also took over the botanical drawing class upon Elizabeth Blackadder's retirement. Crowe has noted that she uses plant imagery as 'ciphers and symbols within a greater whole,' which means that her flower paintings operate simultaneously as abstract objects, as depictions of our known environment and as a symbolic language. Her works often begin as observations of the natural, visible world, before becoming layered with symbols and meditations on time, memory, and imagination. Today, Crowe is represented in a large number of private and public collections. She has recently exhibited extensively, with simultaneous shows at the Scottish National Portrait Gallery and the Scottish Gallery (Edinburgh International Festival) in 2018, followed by a major lifetime retrospective at the City Art Centre in Summer 2019. She divides her time working and living in Venice and the Scottish Borders.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) TOBYEtching and aquatint, P/P, signed, titled and editioned in pencil to margin, unframed (Dimensions: 50cm x 56.5cm (19.75in x 22.25in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) NORTHERN WATERS IIISigned in pencil, signed and inscribed on label verso, mixed media (Dimensions: 49.5cm x 37cm (19.5in x 14.5in))Biography: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group around J.D. Fergusson in 1942 - a group joined together by shared left-wing views and influences from contemporary art in continental Europe. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is housed in numerous public and private collections.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) YELLOWEtching and aquatint, P/P, signed and editioned in pencil to margin (Dimensions: 73cm x 97cm (28.75in x 38.25in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) BLACK CAT ONEtching and aquatint, P/P, signed and editioned in pencil to margin, unframed (Dimensions: 50cm x 56cm (19.75in x 22in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) WINTER LANDSCAPESigned, watercolour (Dimensions: 45cm x 48cm (17.75in x 19in))Exhibited: Royal Scottish Academy Exhibition, 1978 Biography: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group around J.D. Fergusson in 1942 - a group joined together by shared left-wing views and influences from contemporary art in continental Europe. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is housed in numerous public and private collections.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, H/C, signed and editioned in pencil to margin, unframed (Dimensions: 63.5cm x 51cm (25in x 20in), full sheet)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ VICTORIA CROWE O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1945) FOGGY DAY - 1978Signed, inscribed and dated to backboard, mixed media (Dimensions: 39cm x 48cm (15.25in x 18.75in))Biography: Victoria Crowe is one of Scotland's most significant living artists. Her ability to skilfully weave together landscape, portraiture, still life, and interiors make her artwork both highly desirable and instantly recognisable. She has achieved International status and recognition due to many high-profile exhibitions and notable commissions, including portraits of poet Kathleen Raine, composer Thea Musgrave, Professor Peter Higgs, a double portrait of the Duke and Duchess of Buccleuch, and HRH Prince Charles. Crowe beg;an her artistic career at the age of 16 when she attended Kingston School of Art, followed by the Royal College of Art, London. Robin Philipson, who was then Head of the Edinburgh College of Art, saw her degree show in 1968 and immediately offered her a teaching post in Edinburgh, where she subsequently taught drawing and painting for thirty years. She also took over the botanical drawing class upon Elizabeth Blackadder's retirement. Crowe has noted that she uses plant imagery as 'ciphers and symbols within a greater whole,' which means that her flower paintings operate simultaneously as abstract objects, as depictions of our known environment and as a symbolic language. Her works often begin as observations of the natural, visible world, before becoming layered with symbols and meditations on time, memory, and imagination. Today, Crowe is represented in a large number of private and public collections. She has recently exhibited extensively, with simultaneous shows at the Scottish National Portrait Gallery and the Scottish Gallery (Edinburgh International Festival) in 2018, followed by a major lifetime retrospective at the City Art Centre in Summer 2019. She divides her time working and living in Venice and the Scottish Borders.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDEtching, P/P, signed and editioned in pencil to margin (Dimensions: 37.5cm x 43cm (14.75in x 17in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ BET LOW A.R.S.A., R.S.W., R.G.I. (SCOTTISH 1924-2007) ANOTHER PLACE - 1965Signed, dated to artist's label verso, oil on board (Dimensions: 48cm x 38cm (18.75in x 15in))Biography: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group around J.D. Fergusson in 1942 - a group joined together by shared left-wing views and influences from contemporary art in continental Europe. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is housed in numerous public and private collections.

§ ELIZABETH BACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931) ORCHIDACEAEEtching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 35.5cm x 30cm (14in x 11.75in))Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931)Etching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 60cm x 45.5cm (23.5in x 18in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.

A collection of block sheet and part sheet stamps to include Republic of Argentina, part sheets from 1961 to 1969 British, sheet of Papua New Guinea, part sheets for 4d World Cup 1966, 9d, 4d variations to include botanical, Radar, Tarr Steps. birds etc. Also Bermuda part sheets various values, Cayman Islands part sheets, Ross Dependency part sheets 10c, 5c, 8c 8d etc. Also Gibraltar, Malta, cook islands etc

Zeng Xiaolian (B. 1939) "Rhododendron Agglutinatum" Original Watercolor. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the China 50fen Rhododendron stamp issued June 25, 1991. Born in 1939 in Yunnan Province, Zeng Xiao Lian is a talented Chinese artist. He worked as a senior engineer of the Botanical Research Institute of Chinese Academy of Sciences. In addition, Zeng Xiao Lian received artistic training in Beijing. The artist has painted a series of beautiful botanical images of flowers and birds. These accurate detailed images have been published in more than fifty books, including "Flora of China", "Flora and Rhododendrons Yunnan" and others. Paintings by Zeng Xiao Lian participated in numerous national exhibitions in China, as well as in the United States, Canada and Australia. R. agglutinatum is native to China, bearing shocks of reddish-pink flowers that stand out stunningly against the deep, rich green of its leaves. Its striking beauty can be found brightening much of China, especially the moist, humid mountains near the Malay Peninsula. Gardeners find this plant grows best in partial shade, sheltered from strong winds. It does poorly in alkaline soils, preferring an acid soil rich in organic material. Image Size: 9.75 x 12.75 in. Overall Size: 12 x 13.75 in. Unframed. (B13053)

Zeng Xiaolian (B. 1939) "Rhododendron Delavayi" Original Watercolor painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the China 10fen Rhododendron stamp issued June 25, 1991. Born in 1939 in Yunnan Province, Zeng Xiao Lian is a talented Chinese artist. He worked as a senior engineer of the Botanical Research Institute of Chinese Academy of Sciences. In addition, Zeng Xiao Lian received artistic training in Beijing. The artist has painted a series of beautiful botanical images of flowers and birds. These accurate detailed images have been published in more than fifty books, including "Flora of China", "Flora and Rhododendrons Yunnan" and others. Paintings by Zeng Xiao Lian participated in numerous national exhibitions in China, as well as in the United States, Canada and Australia. Native to the higher altitudes and moist acid soils of southern China and Southeast Asia, the R. delavayi is a plant as hardy as it is colorful. In the nurturing climate of its homeland, this plant forms dense thickets of ground cover and tall, elegant trees bearing flowers of white, pink or red. It is also a popular hedge and border shrub, its ornamental flowers appearing over a long season and its infintie varieties delighting gardeners worldwide. Image Size: 8.75 x 12.75 in. Overall Size: 12 x 13.75 in. Unframed. (B13054)

Zeng Xiaolian (B. 1939) "Rhododendron Fortunei" Original Watercolor. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the China 80fen Rhododendron stamp issued June 25, 1991. Born in 1939 in Yunnan Province, Zeng Xiao Lian is a talented Chinese artist. He worked as a senior engineer of the Botanical Research Institute of Chinese Academy of Sciences. In addition, Zeng Xiao Lian received artistic training in Beijing. The artist has painted a series of beautiful botanical images of flowers and birds. These accurate detailed images have been published in more than fifty books, including "Flora of China", "Flora and Rhododendrons Yunnan" and others. Paintings by Zeng Xiao Lian participated in numerous national exhibitions in China, as well as in the United States, Canada and Australia. In 1856, Robert Fortune discovered deep in eastern China the breathtaking creamy-pink flowers of a beautiful new species of Rhododendron. This plant often attains a height of 12 feet, exhibiting clusters of its multi-petaled flowers from its slender stalks. R. fortunei, named for its discoverer, is now found in gardens throughout the world, an ever-popular evergreen variety of the beautiful Rhododendron. Image Size: 9.25 x 11.75 in. Overall Size: 12 x 13.75 in. Unframed. (B13060)

Zeng Xiaolian (B. 1939) "Rhododendron Wardii" Original Watercolor. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the China 5 Rhododendron souvenir sheet issued June 25, 1991. Born in 1939 in Yunnan Province, Zeng Xiao Lian is a talented Chinese artist. He worked as a senior engineer of the Botanical Research Institute of Chinese Academy of Sciences. In addition, Zeng Xiao Lian received artistic training in Beijing. The artist has painted a series of beautiful botanical images of flowers and birds. These accurate detailed images have been published in more than fifty books, including "Flora of China", "Flora and Rhododendrons Yunnan" and others. Paintings by Zeng Xiao Lian participated in numerous national exhibitions in China, as well as in the United States, Canada and Australia. During the early 20th century, Frank Kingdon-Ward was among those who scoured far-away countries searching for new varieties of plants to bring back to Europe and North America. One of his many discoveries is the fabulous yellow-flowered species which bears his name, Rhododendron wardii. Native to western China and Tibet, this attractive bloom thrives only in mild climates, much to the chagrin of growers living in areas where the growing season is short. Image Size: 10.25 x 13.25 in. Overall Size: 12 x 13.75 in. Unframed. (B13058)

Wu Jiankun (Chinese, B. 1935) "Sunshine Peak in Lushan Mountains" Stamped lower left and upper right. Original Mixed Media on Rice Paper Glued to Heavy Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the China 8fen Sunshine Peak stamp issued July 20, 1981. Lushan's Sunshine Peak, with its quaint oriental pavilions, echoes the simple philosophy with which the Chinese come to terms with life, to "simply take things as they come." The beauty and climate of the Lushan Mountains encourage the visitor to do just that -- to stop for a moment and enjoy the surrounding view. Lushan offers such comforts as a sanatorium, a botanical garden, a cultural palace, and well-paved roads. But among the most inviting, and indeed the most appreciated of all its features, are its lovely pavilions, which line pathways on Sunshine Peak. The beauty and pleasure of these resting spots lie not only in their scenery, but in their fascinating varieties of design and purpose. A pavilion may be square, round, multi-sided, or shaped like a crabapple or plum blossom. It may be a rustic thatched pavilion, an elegant bamboo pavilion, or a wood framed pavilion. It may be intended for use during a certain time of day or year -- a pavilion for enjoying a snow scene, for looking at the clouds, or for watching the sun set. A pavilion may be found by a lake or stream, half-way up a hill, amid a grove of pines, beside a flower bed, or on a bridge, serving as a pointer or guide to the particular landscape. Built for enjoyment, the pavilions of Sunshine Peak encourage the visitor to linger for a while, to enjoy life and adopt the simple Chinese philosophy of quietly accepting life as it. Image Size: 16.25 x 13.5 in. Overall Size: 19.75 x 19 in. Unframed. (B06599)

Botany.- Fuchs (Leonhart) De Historia Stirpium Commentarii Insignes ..., first edition, collation. α⁶ β⁸ A-Z⁶ a-z⁶ aa-zz⁶ Aaa-fff⁶, printer's device to title and final leaf verso, 509 full-page woodcut engraved illustrations, woodcut portraits to title verso and at end, previous owner's inscription dated 1672 to front pastedown, loss to final free endpaper (restored), occasional faint spotting and minor finger-soiling, pen and ink drawing of a heraldic lion tipped-in to front free endpaper, seventeenth century French calf, spine expertly rebacked with original spine laid down, corners expertly restored, a little rubbed, housed in a modern drop-back box, [Adams 1099; Dibner 19; Horblit 33b; Hunt 48], 360 x 233 mm, folio, Basel, Officina Isingriniana, 1542.⁂ Fuchs's celebrated herbal which effected a revolution in the natural sciences, earning him the title 'German fathers of botany' along with Brunfels and Bock. All three wished to correct botanical knowledge which had been in the hands of itinerant and illiterate herbalists to this point. To effect this reform accurate illustration and identification was the first requirement, and it was to this task that Fuchs addressed himself. Fuchs employed the best artists then available in Basel; Albrecht Meyer, Henrich Füllmaurer and Veit Rudolph Speckle. All three are depicted in the book, the first time that book illustrators are themselves portrayed and named. These illustrations set a new standard for botanical description and were some of the most influential in botanical history, being copied and reprinted well into the eighteenth century.

Experimental printing.- Lucas (Richard Cockle, British sculptor and photographer, 1800-1883) A collection of seven Nature Prints, including a Foxglove leaf, a Fern leaf, Blackberry leaf, and other plants, nature prints, in various colours on thin Japan, various sizes from 190 x 110 mm. (7 1/2 x 4 1/4 in) and 300 x 210 mm. (11 3/4 x 8 1/4 in), irregularly trimmed, some handling creases, minor surface dirt, loose in contemporary paper wrapper, inscribed on upper cover 'In 1858 and subsequent years/ at Chilworth, Hants, R.C. Lucas/ made many experiments in Nature Printing/ of which, these are specimens', unframed, [circa 1858] (7)⁂ The seven examples in the present lot were produced by Nature Printing, a somewhat obscure technique that grew in popularity during the 19th century. It involved the inking of specimens, most frequently botanical ones as here, and then printing directly from them. Rather than serving as a more accurate scientific record of plant specimens, Lucas utilised the technique as a form of art, with the examples often being an edition of one, similar to the monotype printing process.

NO RESERVE Botany.- Collaert (Adriaen) Florilegium, engraved throughout with pictorial title and 23 plates (numbered 2-24), most of several flowers, one of a vase of flowers and another of figures in a garden with quotation below, c.180 x 135mm., all trimmed to plate-mark and mounted on blank leaves, some light soiling and staining, later half cloth, rubbed, [Hunt 159; Nissen BBI 383], small 4to, [Antwerp], P.Galle, [c.1590].m⁂ "This is rather a rare little book and one quite important in the history of botanical illustration, as it is among the earliest to have engraved plates of flowers". Hunt

Metals, fossils & minerals.- Aldrovandi (Ulisse) Musaeum metallicum in libros IIII distributum, fine engraved pictorial title by F. Coroleanus, numerous woodcut illustrations, without ¶4 (?blank) as with other copies traced, some spotting or light foxing, occasional browning, contemporary mottled vellum, spine in compartments and with morocco label, head of spine repaired, corners worn, [Nissen ZBI 75; Ward and Carozzi 43; Wellcome I, 172], folio, [Bologna], [G. Battista Ferroni], 1648.⁂ Scarce first edition of volume XIII of Aldrovandi's works, covering metals, fossils, minerals and shells. At the University of Bologna Aldrovandi had established one of the first herbaria and extensive botanical and zoological collections.

Mercati (Michele) Metallotheca. Opus posthumum, 2 parts in 1, including appendix, first illustrated edition, folding engraved frontispiece, titles in red and black and with engraved vignette, 6 engraved plates (1 folding), engraved illustrations, errata f. and 'Regestum' f. with engraved printer's device at end of part 1, lacking half-title and a portrait, some spotting or light foxing, contemporary calf, rebacked, corners worn, rubbed, [Hoover 581; Sinkankas 4390; Ward & Carozzi 1541; Caillet 7390], folio, Rome, Johannes Maria Salvioni, 1719.⁂ A landmark treatise in the history of mineralogy and metallurgy. Mercati was personal physician to Popes Gregory XIII and Clement VIII, and superintendent of the Vatican Botanical Garden. He formed one of the first organised collections of minerals under the aegis of Pope Sixtus V. 'The collection reflects the state of knowledge extant at the time, and therefore includes objects of presumed magical or medicinal virtue as well as those which are correctly identified and described' (Sinkankas).

NO RESERVE Botany.- Withering (William) A Botanical Arrangement of all the Vegetables Naturally Growing in Great Britain, 2 vol., half-titles, 12 engraved plates, of which 2 folding, occasional spotting, modern half morocco, gilt spines in compartments, Birmingham, M. Swinney, 1776; and 19 others, Botany, 8vo (21)

Garden urns/planters: A pair of large and impressive Compton pottery scroll pots, early 20th century, each with small circular makers mark, 50cm high by 60cm diameter. The Compton Potters Art Guild was started by Mary Watts, the wife of G.F. Watts the Victorian allegorical painter. In 1895 work began on the Watts Mortuary Chapel. Designed by Mary Watts, it was to be built from local clay by the villagers of Compton, near Godalming, Surrey. Mr and Mrs Watts were dedicated supporters of the growing Home Arts and Industries Association, a voluntary movement launched by Earl Brownlow in 1885 to revive the dying art of handicraft among the working classes. The idea was that young uneducated artisans should have their eyes opened to the wonders of art. They would be rescued from idleness, gambling and drinking -so the notion ran- during long winter evenings. Uplifted and taught how to use their hands with skill they would acquire a hobby to be proud of and develop this hitherto unknown talent, where possible to professional standards. The Pottery Art Guild continued from strength to strength, winning medals at the Royal Botanical Society and the Home Arts' highest award, the gold cross. Liberty's sold their garden ornaments as well as hand tufted Donegal carpets designed by Mrs Watts. They received architectural commissions from Lutyens, Clough William-Ellis and Goodhart Rendel. Recommended by Jekyll, they made miniature versions of their pots for the garden of Queen Mary's dolls house in the early 1920's. The Guild became a limited company run by George Aubertin and continued to produce works based on Mrs Watts' designs until after her death in 1938. The scroll pots are illustrated in the Art Potters Guild catalogue page 11 and came in a variety of sizes of which this is the largest.Literature: The Watts Chapel, An Arts and Crafts Memorial by Veronica Franklin Gould, Arrow Press, Farnham, Surrey

HISTORICAL NINETEENTH CENTURY ALBUM OF WATERCOLOURS & PRINTS RELATING TO THE VIVIAN FAMILY & SWANSEA AREA in gilded Morocco binding and titled 'Swansea Bay', most pictures with explanatory notes and dates, many comprising Vivian residences including watercolours of 'Marino 1816' and '...after alterations 1820', 'Singleton (Marino) 2nd Alteration', 'Lodges at Singleton', also noted 'A days fishing in Black Pill' and many sketches signed by Pitman (possibly John Pitman - fl.1814-1841) including 'Tricksy, Little Foxhound Terrier from Truro Kennel' a portrait of a standing greyhound named 'Venus' another of a horse and drawings of other animals, also signed Pitman 'Mumbles Light House - Bracelet Bay' and other local scenes to Swansea. Also noted, a watercolour of the Ladies of Llangollen riding side-saddle, signed M Lindsay, watercolours and drawings of local scenes by pioneering photographer and painter Rev Calvert Richard Jones, original pencil drawings by Singleton architect P F Robinson, sketch of local scene signed Townley, various portraits of ships, fine watercolour botanical study signed Mrs Withers etc Provenance: consigned directly from a member of the Vivian familyThere are approximately thirty to forty, most are watercolours, most of the book is full and most are titled. 

•JOHN NORTHCOTE NASH (1893-1977) 'Interior with Figures, 1925' signed in pencil to the margin, woodcut, the image 12.5cm x 12cm; together with four botanical woodcuts by Nash (5) Provenance: With The New Grafton Gallery, 42 Old Bond Street, London

•WILLIAM T RAWLINSON (1912-1993) A set of five botanical woodcuts, 'Hibiscus', 'Nasturtium', 'Beleperone Guttata', 'Primula Obconica' and 'Bletilla Hyacintha', each titled signed and dated between 1970-1976 in pencil, the largest 16.5cm x 17cm (5)

A POSSIBLY SHORTHOUSE LEAF SHAPED BOTANICAL DISH, "Great Daffodil", 8.5ins long, and a TUREEN WITH COVER, "Moss Rose and Purple Hellebore", 6.5ins long.

A PAIR OF CREAMWARE OVAL BOTANICAL DISHES, "Dwarf Almond" and "Tubular Rooted (Flower)", and A COMPORT, 12ins long.

A SET OF FOUR CREAMWARE BOTANICAL CIRCULAR PLATES. 8ins diameter.

An embroidered silk-embroidered hanging19th centuryFeaturing a figure of an immortal upon a bixi amidst a selection of flowering trees featuring Chinese botanical specimens including, magnolia, peony, prunus and finger citron, all on a purple ground. 166 x 76cm.For further information on this lot please visit Bonhams.com

Adverting Stoneware Flagons - H Jones and Sos, B Cotton and Co Botanical Brewery; ; others; stoneware bottles and warmers; Victorian opaque glass vase

BOTANICAL/BIRDS : hand coloured prints, mainly from an early 19th cent. Culpeper, also a couple of original water/cols, a Chinese pith painting, deer, and a print of a parrot.(approx. 60 loose prints)( a lot)

A pair of Continental porcelain and gilt metal mounted three branch candelabra, circa 1900, the porcelain bodies with hand painted botanical decoration each upon rococo style bases. Height 40 cm.

A Derby botanical shell-shaped dessert dish, circa 1790, painted with sweet peas, titled, 24cm diameter/see illustration CONDITION REPORT: 379:Minor firing hairline to handle, visible to underside. Minor wear to gilt and enamels.

A large Spode botanical lozenge-shaped dish with moulded and gilt shell handles and a Derby plate painted with a day lily in the manner of William Pegg, circa 1818, 35cm long CONDITION REPORT: Restoration to one shell-moulded handle, some re-touching to gilding. Very minor scratching to enamels. The dish has a restored crack and several restored rim chips.

A Derby shell-shaped botanical dish with 'Wooly Cineraria' and a heart-shaped dessert dish, circa 1815, painted with three bouquets and flowers, possibly by Leonard Lead, 19.5cm and 25.5cm diameter

A quantity of pictures and prints of military interest and other general decorative prints of ornithological and botanical interest and a quantity of small frames

19th Century English six piece part dessert service painted with botanical specimens within a green and gilt border