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A COALPORT PORCELAIN OVAL BOTANICAL PLATE CIRCA 1820 Impressed '6' verso, gilt dentil rim, 26.5cm in length; AND FOUR PLATES ENSUITE, each 21.5cm diameter; titled verso   Condition Report: Cyclamen with star crack, strawberry with rubbed rims. Some wear generally consistent with age and use. Will need cleaning. Please see additional images available from the Dept. upon request.Condition Report Disclaimer

19thC Chinese covered ginger jar with botanical decoration and four character mark to base, height 13cm

A set of Wedgwood Imperial porcelain serving dishes decorated with botanical fruits, within a fitted wooden tray, L.34 W.27cm.

Stamps; World 'Thermatic' Stamps in packets, topics include painting, religion, art, botanical, plants, flowers, sport, olympics, marine life, fish, presidents, statesmen, politicians.

Bentley & Trimen, Medicinal Plants, Bently, Robert, & Trimen, Henry, Medicinal Plants: being descriptions with original figures of the Principal Plants Employed in Medicine, Printed London, J. & A. Churchill, New Burlington Stree, 1880, in 4 Vols, contemporary half calf with gilt lettering, with 306 botanical plates, each meticulously hand-colored with some extending across double pages, Robert Bentley, born in 1821, distinguished himself as an English botanist and pharmacologist whose contributions significantly impacted the fields of botany and pharmacy. His academic journey led him to become a professor in botany at King's College in 1859, where he imparted knowledge and inspired future generations. In recognition of his expertise and dedication, Bentley attained the prestigious status of a Fellow of the Royal Pharmaceutical Society in 1874. His legacy endures through his influential teachings and his notable contributions to the intersection of botany and pharmacology. Henry Trimen, born in London in 1843, emerged as a notable botanist whose impact reached the lush landscapes of Ceylon, present-day Sri Lanka. Serving as the director of the Royal Botanic Gardens in Ceylon from 1879 to 1895, Trimen played a pivotal role in shaping the botanical landscape of the region. His profound knowledge and passion for flora culminated in the publication of "The Flora of Ceylon" in 1893, a testament to his dedication to botanical research. Trimen's legacy extends beyond borders, leaving an enduring mark on the rich biodiversity of the Royal Botanic Gardens in Ceylon. David Blair, born in 1820, etched his name into the annals of botanical artistry and lithography during the 19th century. His creative talents found expression in various notable works, including contributions to the "Transactions of the Linnean Society" in 1875. Blair's artistic flair further adorned publications such as Berthold Carl Seemann and James Britten's "Journal of Botany, British and Foreign" (1872-8), James Britten's "European Ferns" (1880), and Lena Lowis' "Familiar Indian Flowers" (1881). A skilled botanical illustrator, Blair left an indelible mark on scientific publications, enriching the visual appeal of botanical knowledge. The exact year of his passing remains uncertain, but his artistic legacy lives on in the detailed and exquisite renderings that continue to captivate enthusiasts of both art and botany.

A Folio Catalogue of Engravings of the Microscopes of the Crisp Collection, An unusual catalogue of the Frank Crisp Collection of Microscopes, folio, half leather with green faux leather to boards, black leather spine with gilt lettering for ‘MICROSCOPES IN MR FRANK CRISPS COLLECTION’, with orange end papers, with a pocket of the same to accept a copy of ‘The Collection of Antique Microscopes, Tuesday , February 17th 1925, Stevens’s Auctions Rooms’, with 78 pages of engravings of all the main microscope from the Crisp Collection, with microscope collection shelving units, & display cabinets to the rear of the book, some of the engravings with hand written notes that correspond to the entries in the auction catalogue Frustratingly there are some aspects of the book missing, firstly a past owners signature has been crudely erased from the top corner of the inside page, secondly an old letter/page is missing from the front of the book, the outline can be seen against the pages oposit and there is some old tape suggesting it was put in after the publication by a previous owner, the hand written descriptions below the microscope engravings have been compared to the hand writing of Frank Crisp and there is no correlation. It’s certainly possible that Crisp had this book made for him, he was no stranger to publishing books having had a private run of 1000 copies of his book ‘Medieval Gardens’ gardens published by John Lane, The Bodley Head Limited, in 1924. However, the auction catalogue was of course produced after his death so how could it be fitted to the inside of the boards, unless the end papers were a later addition or replacement. In conclusion this is perhapse the only known copy of the complete collection of microscopes from the Crisp collection before it was broken up at Stevens’s Auction in 1925, the book would have been an expensive venture only possible at the time as a private publication by Frank Crisp as he would have been the only one with access to the collection in such detail. There would not have been the time or inclination for this to have been produced after his death. the science museum in London has a copy of the notes and drawings made by Thomas Henry Court, object number: 1934-133, but not a copy of this book Provenance: previous owners name in pen to the auction catalogue and inside cover of the book of B. Bracegirdle Sir Frank Crisp, 1st Baronet, distinguished himself not only in the legal arena but also as a active meber in the field of microscopy. Born on October 25, 1843, in London, Crisp's early years were marked by personal tragedy, losing his mother at a tender age. Raised by his grandfather, John Filby Childs, Crisp exhibited a remarkable intellect and an insatiable curiosity about the natural world. His journey into the world of law commenced at the age of 16 when he began his apprenticeship with a solicitor firm while simultaneously pursuing studies at the University of London. His academic prowess earned him a BA in 1864 and LLB in 1865, laying the foundation for his legal career. In 1867, Crisp married Catherine Howes, embarking on a partnership that would see them deeply involved in both legal and scientific pursuits. Crisp's passion for microscopy led him to become an enthusiastic member of the Royal Microscopical Society, where he not only participated actively but also served in various capacities, including as an officer. His generosity towards the society manifested through donations of furniture, books, and instruments, illustrating his commitment to advancing scientific knowledge. Despite his burgeoning legal career, Crisp's fascination with the microscopic world remained undiminished. He delved into the intricacies of microscopy, contributing significantly to the understanding of this field. Crisp's legal expertise garnered him prestigious clients, including foreign railroad companies and the Imperial Japanese Navy. His involvement in drafting the contract for the cutting of the renowned Cullinan diamond underscored his prowess in navigating complex legal agreements. In recognition of his invaluable services to the Liberal Party, Crisp was knighted in 1907 and subsequently elevated to the baronetcy in 1913. These honors reflected not only his legal acumen but also his unwavering commitment to public service. Beyond his legal and scientific pursuits, Crisp was a passionate horticulturist. He acquired Friar Park in Henley-on-Thames in 1889 and transformed it into a botanical marvel, featuring an impressive alpine garden inspired by his love for natural beauty.

Baxter, W., British Phaenogamous Botany, Flowering Plants, Baxter, W., British Phaenogamous Botany or Figures and Descriptions of the Genera of Flowering Plants, Published by the author, 1834, 6 vols, original blue cloth, with unidentified armorial bookplate with motto 'Anchora Tutissima Virtus', with 509 hand-coloured copperplates engraved by Charles Mathews after botanical illustrations by Mathews, Isaac Russel (an Oxford glass painter) and William Alfred Delamotte, spines on 1 and 3 poor, corners bumped light spotting throughout

Greville, Robert Kaye, Scottish Cryptogamic Flora, or Coloured Figures and Descriptions of Cryptogamic Plants, Greville, Robert Kaye, Scottish Cryptogamic Flora, or Coloured Figures and Descriptions of Cryptogamic Plants belonging chiefly to the Order Fungi; and Intended to Serve as a Continuation of English Botany, Printed for Maclachlan & Stewart, Edinburgh; and Baldwin, Cradock & Joy, London, 1823, 6Vol. in 3 books, late 19th century(?) half calf binding in green with gilt lettering to spine, with 360 hand-coloured plates, Robert Kaye Greville, a prominent figure in 19th-century botany, left an indelible mark on the scientific world with his groundbreaking work in cryptogamic flora. Born in Bishop Auckland, Durham, Greville's early years were shaped by his parents, Dorothy and Robert Greville, the latter being the rector of the parish church in Edlaston, Derbyshire. His childhood fascination with natural history evolved into a lifelong commitment, although his path initially led him to the study of medicine. However, realizing that his passion for botany outweighed the pursuit of a medical career, Greville made a bold decision to abandon four years of medical education in London and Edinburgh, focusing instead on his true calling. In 1816, Greville married Charlotte Eden, the niece of William Eden, 1st Baron Auckland. Greville's dedication to botany became more apparent in 1823 when he embarked on the ambitious project of illustrating and publishing the "Scottish Cryptogamic Flora." This monumental work was released in monthly parts and aimed to complement the catalog of flora found in Smith and Sowerby's "English Botany." Greville meticulously drew each specimen himself, accompanied by detailed text, creating a comprehensive depiction of the Scottish cryptogamic flora during the early 19th century. The following year, in 1824, Greville expanded his botanical contributions with the publication of "Flora Edinensis," a guide to the flora of Edinburgh. His dedication and scholarly contributions did not go unnoticed, as evidenced by the University of Glasgow awarding him a doctorate in 1826. Greville's influence extended beyond publications; he delivered numerous lectures in the natural sciences and amassed collections that were later acquired by the University of Edinburgh, preserving his specimens of plants and fungi in the Herbarium of the Royal Botanic Garden Edinburgh. Notable among Greville's adventures was a boat trip to the Isle of May in late 1826 or early 1827, accompanied by students William Ainsworth and Charles Darwin. Despite his eminence as a cryptogamist, Greville's contagious laughter at seabirds led him to lie down on the greensward, creating a memorable moment for his companions. In 1828, Greville received a significant honor when Mount Greville in Queensland was named in his honor by fellow botanist Allan Cunningham. This mountain, now part of Moogerah Peaks National Park, stands as a testament to Greville's global impact on botany. Beyond his botanical pursuits, Greville showcased his diverse interests. In 1835, he published piano music for a sacred melody, and in 1839–40, he served as president of the Botanical Society of Edinburgh for the first time. Greville's engagement in political causes, such as abolitionism, capital punishment, Sunday observance, and the temperance movement, reflected his commitment to social issues. In 1840, Greville played a key role as one of the vice-presidents at the World's Anti-Slavery Convention in London, illustrating his dedication to humanitarian causes. His involvement in various learned societies, including the Biological Society and the Royal Society of Edinburgh, showcased his standing as a respected figure in the scientific community. Greville's impact extended internationally, as he held honorary memberships in the Royal Irish Academy and the Howard Society, along with corresponding memberships in natural history societies in Brussels, Paris, Leipzig, and Philadelphia. Notably, he served as the secretary of the Sabbath Alliance and contributed to the compilation of the Church of England's 1838 hymn book. Towards the end of his life, Greville faced financial challenges, prompting him to transition to professional artistry, creating landscape paintings that were exhibited. Despite financial hardships, he remained dedicated to his botanical work. In 1865–66, Greville served as President of the Botanical Society of Edinburgh for the second and final time. He continued to be actively involved in his research until his passing on June 4, 1866, at his home in Murrayfield, Edinburgh. Greville's legacy endures through his contributions to botany, his dedication to social causes, and his impact on the scientific community. His burial in Dean Cemetery in Edinburgh marks the final resting place of a man whose passion for nature and humanity left an everlasting imprint on the world of science and beyond.

Original Royal Microscopical Society Recipt, Frank Crisp, 1870, an original recipt for membership of the Royal Microscopical Society, dated April 1870 for Frank Crisp Esq. Sir Frank Crisp, 1st Baronet, distinguished himself not only in the legal arena but also as a active meber in the field of microscopy. Born on October 25, 1843, in London, Crisp's early years were marked by personal tragedy, losing his mother at a tender age. Raised by his grandfather, John Filby Childs, Crisp exhibited a remarkable intellect and an insatiable curiosity about the natural world. His journey into the world of law commenced at the age of 16 when he began his apprenticeship with a solicitor firm while simultaneously pursuing studies at the University of London. His academic prowess earned him a BA in 1864 and LLB in 1865, laying the foundation for his legal career. In 1867, Crisp married Catherine Howes, embarking on a partnership that would see them deeply involved in both legal and scientific pursuits. Crisp's passion for microscopy led him to become an enthusiastic member of the Royal Microscopical Society, where he not only participated actively but also served in various capacities, including as an officer. His generosity towards the society manifested through donations of furniture, books, and instruments, illustrating his commitment to advancing scientific knowledge. Despite his burgeoning legal career, Crisp's fascination with the microscopic world remained undiminished. He delved into the intricacies of microscopy, contributing significantly to the understanding of this field. Crisp's legal expertise garnered him prestigious clients, including foreign railroad companies and the Imperial Japanese Navy. His involvement in drafting the contract for the cutting of the renowned Cullinan diamond underscored his prowess in navigating complex legal agreements. In recognition of his invaluable services to the Liberal Party, Crisp was knighted in 1907 and subsequently elevated to the baronetcy in 1913. These honors reflected not only his legal acumen but also his unwavering commitment to public service. Beyond his legal and scientific pursuits, Crisp was a passionate horticulturist. He acquired Friar Park in Henley-on-Thames in 1889 and transformed it into a botanical marvel, featuring an impressive alpine garden inspired by his love for natural beauty.

Hamilton, Edward, The Flora Homoeopathica, Hamilton, Edward, The Flora Homoeopathica; or Illustrations and Descriptions of the Medicinal Plants Used as Homoeopathic Remidies, 2 Volumes in 1, Printed 1852, half calf with gilt lettering to spine, 66 coloured plates, front board loose from text block, fading to boards, edges worn and bumped, some light foxing to plates and text Edward Hamilton's "Flora Homoeopathica" stands as a testament to the effectiveness of homeopathic remedies, employing a rich blend of meticulous botanical illustrations and in-depth descriptions of 66 plants. From the familiar and benign, such as chamomile and coffee, to the potentially hazardous, including poison ivy and ergot, Hamilton's work delves into the diverse world of medicinal plants used in homeopathy. Each plant is meticulously characterized with botanical details, historical context, means of identification, geographical distribution, and physiological effects in both humans and animals. The work delves further into the parts of the plant utilized and the methods of preparation, providing a comprehensive understanding of their general applications in homeopathy. Hamilton's book extends beyond the botanical realm, offering numerous case studies and clinical observations that purportedly demonstrate the efficacy of homeopathic remedies in treating a variety of physical and mental diseases. Edward Hamilton, a prominent member of the British Homeopathic Society and a Physician to the London Homeopathic Hospital, founded in 1849, lends his authority to this comprehensive guide. In addition to serving as a valuable reference for homeopathic practitioners, Hamilton strives to elevate and legitimize homeopathic practices within both the public and broader medical community. Originating in the late 18th century, homeopathy gained significant popularity in the 19th century as an alternative to conventional Western medicine, often labeled as "allopathy." In contrast to potentially ineffectual or harmful treatments like bloodletting and purging, homeopathy operates on the principle that "like cures like." The author meticulously explains this concept, highlighting the selection of remedies based on their ability to induce symptoms in healthy individuals similar to those presented by patients. A key feature of homeopathic remedies is their harmlessness, achieved through extensive dilution. For instance, even the lethal Atropa Belladonna (Deadly Nightshade) becomes a potent treatment for inflammation when diluted, as discussed in the book. Intriguingly, Hamilton explores unconventional recommendations, such as Henbane for nymphomania, Bitter Cucumber for dysentery, and Cannabis for ailments ranging from tetanus to acne and gonorrhea.

A stoneware flagon for J. Allen, Botanical Brewer of Camborne, 11" high; green glass beer bottle by Carne of Falmouth and Truro and a "Coppedhall" grape growing bottle (3)

Two German and Austrian porcelain coffee cans and three cups, 2nd half 18th century, two cups Vienna, one painted with a profile portrait, the other with a botanical flower spray, the last Thuringian and decorated with a silhouette, a Vienna can painted with a huntsman and two dogs, and another with a geometric design, some damages, 7.4cm max. (5)

Two small Royal Copenhagen Flora Danica plates, 20th century, painted with botanical specimens Hypericum humifusum L (trailing St John's Wort) and Alpine groenlandica fzl, titled in Latin to the reverse, within a jagged gilt and pink border, printed marks and three wave marks, 14.2cm. (2)

A Derby botanical sauce tureen and cover, c.1800, painted in pattern 216 with floral specimens of Blitum virgatum, Scilla campanulata and Melissa grandiflora, after prints by John Edwards, within rich yellow borders, titled in blue, restoration, 22cm across. (2)

Two small Royal Copenhagen Flora Danica plates, 20th century, painted with a botanical specimen of Draba verna L and Illecebrum verticillatum L, titled in Latin to the reverse, within a jagged gilt and pink border, both with printed marks and three wave marks, 14.2cm. (2)

An English porcelain two handled pedestal comport, painted with botanical specimens, blue ground, early 19th century; a pair Copeland Spode shaped circular livery plates, Worshipful Company of Mercers London Guild, 25.5cm diameter, c.1885; a Boar War commemorative shaped circular plate, Field Marshall Lord Roberts, V.C., 26.5cm diameter, c.1899 (4)

Irish Botanical and Horticultural Interest - an Edwardian silver porringer, of early 18th century design, spirally half-fluted and chased with flowers and C-scroll cartouches, inscribed Irish Rose & Floral Society Challenge Cup, 18 Blooms, Distinct Varieties, Presented by Adam C Cooper Esq, 23cm over scroll handles, I S Greenberg & Co, London 1902, 420g

Interior Decoration, La Roche Laffitte,thirteen botanical studies,watercolours, signed, unframed, each approximately 54cm x 39cm (13)

A rare Swansea botanical shaped rectangular two-handled dessert dish, painted by Thomas Pardoe, with four botanical specimens, the gilt handles naturalistically moulded with leaf terminals, 32cm wide, c.1815-17

A collection of pictures and prints, 19th-century hand-coloured engravings, botanical prints, etc. (2 boxes)

Botanical interest - Twenty-copies of Familiar Wild Flowers by F E Hulme, numbers 1-21 and 23-29; and fifteen Blumen-AtlasQty: 35

A SMALL QUANTITY OF PICTURES AND PRINTS ETC, to include a William Russell Flint limited edition print 'Mill Pool St Jean de Cole', published 1980 numbered 136/850 with blind stamp bottom left, approximate size 54cm x 70cm including visible margins (frame damaged), an open edition print 'Unexplored City ' by the same hand, four modern Chinese paintings on fabric depicting flowers, a Gerald Coulson open edition print 'The Ploughman and the Sea', four botanical prints depicting fruit, four prints depicting race horses, reproduction maps, and a display case with glass shelves etc

THREE BOXES AND LOOSE CERAMICS, METAL WARE AND SUNDRY ITEMS, to include a stoneware flagon marked 'Markham's Botanical Brewers, Queen Street, Gainsboro'' and dated 1946, a copper and brass horn, brass door furniture, a shooting stick, a wooden dough bowl, etc. (3 boxes + loose) (sd)

BOTANICAL PRINTS, a set of eight, 50cm x 39cm, gilt framed. (8)

PALM TREE BOTANICAL PRINTS, a set of eight, in circular frames, 35cm W. (8)

A mixed collection of items to include Royal Albert Old Country Rose Pattern Vase & Ginger Jar (2nds), Portmeirion Botanical large vase etc

A Collection of Portmerion Botanical Ware to include Baluster Vase, Butter Dish, Toast Rack, Jam Pot, Salt and Pepper etc.

A Mixed Collection f Items to include Mid Century Electric Knight Candelabra, Portmerion Botanical Vase, Bush Radio, Toy Cars etc. (1 Tray)

A large leather bound album of pressed British botanical plant specimens, most examples identified and with notes

A 19th century 4 gallon stoneware storage jar, impressed by makers John McEwan & Co, Fountainbridge, Edinburgh (H48cm) together with a stoneware storage jar stamped Robson brothers, Botanical Brewers, Edinburgh (H34cm)

2009 Royal Mint, Fifty Pence, 250th Anniversary of the Royal Botanical Gardens, Kew. 2009 Royal Mint, Fifty Pence, 250th Anniversary of the Foundation of the Royal Botanical Gardens, Kew. R. A design showing the pagoda, a building associated with the Royal Botanical Gardens at Kew, encircled by a vine and accompanied by the dates '1759' and '2009', with the word 'KEW' at the base of the pagoda, reverse design by Christopher Le Brun, H19, BU.

Sally Kerr, bearded iris (botanical study), gouache on paper, signed, 25cm x 20cm, framedGood condition

Virgilius Maro (Publius) The Georgicks...with an English Translation and Notes. By John Martyn, first edition, 12 plates and maps, most engraved with hand-colouring, 5 botanical printed in colours, one of globe double-page, list of subscribers, a few plates trimmed within platemark but no loss to image, plate at U1 with light damp-stain to head, light foxing, contemporary speckled calf, spine gilt, wear to corners, little rubbed, for the Editor, by Richard Reily, 1741; and others 18th century, Classics, 4to & 8vo (13) 

*OLGA LEHMANN (1912-2001) 'Clivias' still life botanical study, signed and dated 1988 lower left, oil on board, 55cm x 35cmBorn in Chile of a French father and a Scots mother, Lehmann was initially educated by an English governess and then sent to an American college in Santiago, later winning a scholarship to the Slade School of Fine Art in London.  Lehmann's paintings and murals have been seen by millions as they formed the background of numerous American TV series, such as Dynasty and The Colbys.  Her huge output encompassed work for theatre, film and television as a graphic designer and costume designer.  She was notably a portrait painter to the Hollywood stars, working into her late 80s, wintering in Los Angeles and returning to Saffron Walden for the summer.  She died in Saffron Walden in 2001.Framed dimensions: 73cm x 51cm

*KATHLEEN MURIEL SCALE (MURIEL HARDING-NEWMAN) (1913-2006) Pink camellia and white amaryllis' still life botanical study, signed "K. M. Scale Harding Newman, 1986" lower left, watercolour on paper, 59cm x 45cmExhibited: K M Scale/Harding-Newman - A Restrospective, Dorset Museum, 1995, no. 64.Framed dimensions: 79.5cm x 63.5cm

DONOVAN, Edward. The Natural History of British Insects. London: for the Author and for F. C. Rivington, 1792-1813. 16 vols. in 8, first edition, 8vo (236 X 136mm.) 8 half-titles present, 576 hand-coloured engraved plates, including 9 uncoloured plates, extra-illustrated with 60 further engraved plates hand-coloured and signed by Anne Eliza Rudge and a few signed by A.E. Pole [Charles Pole], all of them bound-in according to Stephens’ classification [James Francis Stephens], the corresponding text leaves also have insect name and plate number in manuscript, 28pp. of handwritten indices to rear of vol. 8 bound-in before printed indices, also in the same hand. (Plates not bound in Donovan’s numerical order, toning, occasional spotting and browning, lacking errata leaves.) Near contemporary brown full morocco, gilt ruled, gilt lettering to spines (extremities rubbed, upper joint of volume 8 splitting). Note: the hand-written index has two columns and it cross-references the classification of Donovan’s taxonomy with Stephens’. Anne Eliza Rudge was the daughter of Anne Rudge, wife of the botanist Edward Rudge, and herself a botanical illustrator. Anne Eliza Rudge married Charles Pole in 1824 and a few of the plates are signed A.E. Pole. All but two of Anne Eliza Rudge’s plates are copies of parts of the original figures but made necessary by arranging according to Stephen’s classifications. The two new figures are both of larvae and they are plate 200 and 439 (8).

A mid 18th century Chelsea porcelain Botanical plate, polychrome decorated with butterfly, ladybird and fruits, apple green rim. Red anchor mark. 21.5cm One 5cm hairline crack, one 1 1/2cm hairline crack and some fritting

A Botanical garden Portmeirion vase, Sylvac dog etc

William Burns (British 1923-2010)  Winter in the Botanical Garden, Sheffield, signed, dated 78, oil on board, 24.5cm x 33cm

Oil on canvas, stone bridge in a landscape together with two watercolour, botanical studies, signed Peggy Dawe, charcoal drawing of builder's tools and dustbins and a framed print of The Pool of London

Kristen Rosenberg, pair of Limited Edition colour prints, botanical studies, together with a framed colour print, ' Woldingham at the Millennium ' and a pair of related prints by the same artist

BOTANICAL PRINTS, a set of four, in faux bamboo frames, 50cm H x 35cm. (4)

Collection of 19th Century hand coloured botanical engravings partially mounted in book.

Large collection of Portmeirion Botanical Garden ceramics to include a wide selection of dinner and tea wares; small plates, bowls, oval dishes, pie dishes, mugs, vases, large dishes, large plates, sectional platter, cruets bowls etc. 5 boxes.

A group of large decorative bowls, including a large Botanical bowl; an pressed flower head bowl; and assorted platters and similar kitchen bowls (a lot)

Seven assorted Botanical pictures, including Lilies, crayon, by Kate Nicoll, 1973, and others similar (7)

Four Botanical pictures, including three by Roger Banks, circa 1977, ‘The Spring Snowflake, watercolour, signed and inscribed, oval; ‘Creeping Ladies Tresses’ and ‘Welsh Poppies…” etc (4)

After Christophe Jacob Trew and Pierre Joseph Redoute: a set of three botanical prints - modern reproductions, comprising the Long-Leaved Magnolia; Iris Fimbriata; and Iris Xyphioides, 18½ x 14½ in (47 x 36.8 cm), gilt framed.

English School (second half 20th century) Still life of flowers in a shell shaped vase oil on canvas board, unsigned 14¾ x 12¾ in (37.5 x 32.5 cm), painted frame (49.5 x 44.5 cm); together with a pair of botanical watercolours of roses, oval, unsigned (40 x 33.5 cm), gilt frames (56 x 48 cm); and another watercolour study of hellebores, unsigned (30 x 26 cm). (4)

After Christophe Jacob Trew and Pierre Joseph Redoute: a set of three botanical prints - modern reproductions, comprising the Long-Leaved Magnolia; Iris Fimbriata; and Lilium Superbum, 18½ x 14½ in (47 x 36.8 cm), gilt framed.

An extensive collection of Portmeirion The Botanic Garden and other botanical pattern dinner and oven-to-table ware - some items boxed: 20 x dinner plates,  8½ salad plates and 7¼ in side plates; 2 x oversized teacups and saucers and 4 x mugs; 2 x oval two-compartment serving dishes; 12oz cream jug; rectangular nut dish; two teapot-shaped spoon rests; a teapot coaster; ; two candle-holders; 4 x egg cups; a plate wall-clock and a small desk-clock; 4 x salt & pepper casters; two ramekins; a pestle & mortar; pair of oil & vinegar bottles; a sugar sifter; a salad bowl; two 7¾ in bowls; a covered sugar bowl; 3 x cereal/soup bowls; a jardiniere; 3 x vases; two photo frames; various covered and uncovered jars; a marmalade pot with spoon; a circular casserole dish; a 14 in oval serving dish; 11 x coffee cups; a boxed 7in bread basket; a boxed set of 6 coasters; a boxed mini posy vase; a boxed cake slice; boxed salad servers; six cotton napkins; a boxed 'The Holly & The Ivy' cheese knife and 6 spreaders; and a boxed ribbon plate.

A large quantity of assorted prints and engravings, subjects to include botanical, shells, fish, architectural, figurative and landscape subjects. (qty) Most unframed.Condition Report: As viewed.

After E.D. Smith, The Natural Order of Gerania, a set of six 19th century hand coloured botanical engravings engraved by J. Watts, published 1826 by J. Ridgway of Piccadilly. Plate size 20 x 12cm. (6). Condition Report: The paper is uneven to all and some are more uneven than others. One with a noticeable mark, approx. 2cm. Another has a 12cm high by 1cm wide faded strip top left running down. Another 2 examples have faded sections in the same area running all the way down the left side.

A Boxed Lego Botanical Collection Flower Bouquet Set

Set of Four Decorative John-Richard Botanical Prints in Mirrored Frames, 91cm by 45.5cm (4)

A set of four French covered urns by Fabienne Jouvin of Paris, circa 1990s, each of rectangular form, decorated with various botanical studies46 x 16 x 16cm (4)in good undamaged condition

2 LARGE VICTORIAN BOTANICAL MEAT PLATES TOGETHER WITH CHINESE SQUARE BOWL DAMAGED, CHINESE POT ETC

LARGE BLUE & WHITE VICTORIAN MEAT PLATE, TOGETHER WITH 20 VICTORIAN BOTANICAL DINNER PLATES

A mixed lot of prints and etchings to include a pair of 18th century botanical hand coloured engravings, a set of four late 19th century coaching prints, an engraving of Cupers gardens in Lambeth and othersLocation:

A SET OF FOUR PAINTED EBONISED AND GILT PICTURE FRAMES BY COLEFAX & FOWLER, IN REGENCY STYLE, C.1970Sdecorated with stars, each glazed57 x 46.5cmProvenanceParker & Morris: The Art of Decorating.Catalogue NoteFor similar frames see a pair of botanical watercolours by George Oakes, now in the collection of Lucinda Oakes.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.