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English mid-19th century pink ground part dessert service, printed and painted with botanical specimens within shaped pink and gilt-edged borders, including: comports and plates in sizes, a Dresden porcelain Meissen-style lobed square section bowl, painted with Watteauesque figures and bouquets reserved on a green ground within gilt panels, 23.5cm wide, an English porcelain mid-19th century botanical dessert service comprising: a comport and two plates, each with pierced gilt palmette borders and a Royal Worcester bone china part tea service printed and painted in the Sevres-style with purple and scattered flowersprays, comprising: eleven side plates and two shallow bowls/plates (some damages and wear)  Condition Report Dresden bowl - Light surface scratches, wear to gilding and decoration.Pierced tazza - repair to footPierced plates - surface marks, crazing, discolouration/browningPink ground items - Surface scratches and wear to decoration on all. Two tazzas with chip to underside. One dinner plate with hairline to edge. General wear and tear.

Pair of mid-19th century English porcelain botanical blue ground cabinet plates, a Staffordshire pottery model of a squirrel perched on an oak stump (cracked and restuck), a Chinese Export willow pattern coffee cup and saucer, two coffee cups similar and a Spode teapot, cover and stand, gilt and painted with blue husks, circa 1830, various printed and painted marks (damages) 

Group of early 19th century Chamberlains Worcester porcelain dessert ware, painted with botanical specimens, to include a large twin-handled serving dish, 31.5cm wide, two oval dishes, 30cm wide, a square dish and three platesOne plate with crazing, one chip and two hairlines. Two plates with a star crack. One oval dish with small footrim chips. The footed dish with one handle repair. Square dish with some light crazing and enamel wear.

Four botanical prints, in glazed gilt frames, by P. J. Redoute, 51cm x 39cm overall (5)

Four pieces, comprising - 1. Andrew Watson Turnbull (1874-1957), 'Fir and mountain top (Loch Long)', etching, signed and inscribed in pencil, 6¾ x 9¾in (17.1 x 24.8cm), gilt frame 2. William S. Laidlaw, The Laughing Cavalier, after Frans Hals, signed in pencil, 9¾ x 6 7/8in (24.8 x 17.5cm), gilt frame 3. Two 18th century botanical prints of red roses after Annica Bricogne, in Hogarth frames, overall 28.75 x 21.3cm

Two botanical pictures, comprising - 1. After Basilius Besler, Tulips, reproduction colour print, 19¼ x 16in (48.8 x 40.6cm), stained oak frame, unglazed (57.5 x 49.5cm) 2. After Robert Mapplethorpe, Calla Lily, monochrome photographic print, 14 x 11¼in (35.6 x 28.5cm), ebonised frame (56.5 x 46.75cm)

A Royal Copenhagen Flora Danica pattern sauce boat, circa 1980s, denticulated and hand painted with a botanical specimen titled Sedum villosum L., painted and printed marks, 21cm long

Miguel de Herrera (La Laguna, Santa Cruz de Tenerife, 1696 - Mexico, after 1765)“Allegory and exaltation of the purity and virginity of Mary Immaculate, and symbolism of some lauretan litanies”.Oil on canvas. Signed, dated and located: “Fr. Miguel de Herrera, Augustiniano f. Mexico 1743”. In its original carved, polychromed and gilded wooden frame. 102 x 76 cm.Delicate allegorical work by Miguel de Herrera, a painter from the Canary Islands, also known as Fray Miguel de Herrera, as in 1712 he became a monk, entering the Monastery of the Holy Spirit of the order of St. Augustine.  The painting portrays the theological and devotional exaltation of the purity and virginity of Mary Immaculate, with the symbolism of some lauretan litanies. This painter moved to New Spain in 1719, developing most of his artistic career in Mexico, which is why for a time it was believed that Mexico was his birthplace.It should be noted that in 1753 this painter from Tenerife entered the First Academy of Painting in Mexico. The exact date of his death is unknown, but he remained active at least until 1765.Certainly, this mature work by the Augustinian friar reflects the metaphors that appear in the Bible with mastery.  They are already seen in patristics as prefigurations of Christ and are contemplated here totally in a Marian sense.In a background of purity and mystical light, with delicate tones almost of celestial mist, below and in the background, Nazareth appears, pointed out by Saint Anne as the place of the Virgin's birth, as well as the walls of Jerusalem, where the life and death of her Son will take place.From the union of her two holy parents, Joachim and Anne, the Virgin Mary emerges as a white lily (Lilium Candidum), an emblematic species because of its immaculate white flowers and its deep cultural and religious symbolism, being a botanical hermaphrodite and icon of purity and renewal, which exudes a deep, sweet and intense fragrance.This figure is surrounded by immaculist symbolism and some Laurelian litanies, which were born in the Song of Songs, which became part of the landscape and background of many artworks and which enclosed the iconographic model of the “Tota Pulchra”.On the upper right, “the Door”, Mary is symbolized as the door to heaven through which the Savior has come to us, according to Christian theology, as well as the door that leads us to Him.Below, two angels hold “the Tower of David or Tower of ivory”, in clear parallelism to the tower of the Alcazar in which King David settled when he conquered Jerusalem, symbol of his power and of singular dignity and beauty. The Tower of David, alludes to Mary´s spiritual beauty, her firmness in faith and her dignity as Mother of the Messiah. They also hold the lily, which, like the lilies, signifies her virginal being and her conception without stain of sin. That whiteness is an image of the Virgin's spiritual beauty, and the petals opening upwards are a reference to her openness to God the Father. The petals opening to her sides allude to her generous and essentially missionary motherhood. All the petals form a single flower, an image of fraternity. According to the thought of St. Bernard, Mary's lily is not cultivated and pampered in gardens, but the wild lily of the valley, which sprouts and blooms without the intervention and the hand of man.On the left, above, two other angels hold the Mirror, Mary as “Mirror of Justice”. This Lauretan litany expresses that Mary reflects divine holiness, that is, perfection. In Mary “God was reflected and reproduced through his faithful transcript Jesus, without wounding or altering the mirror itself,” as the Holy Fathers say.The mirror is also related to the soul and the reflection it produces. Therefore, it would come to be one of the faces of truth and, because of its complexity, it would allude at the same time to conscience, clarity and divine intelligence.They also hold an olive branch, which symbolizes peace and values of fecundity, victory or purification applied to the Virgin Mary.The palm or “Palm Tree” which, because of its greenness and life, usually has a meaning related to the hope of salvation. Likewise, recalling the events of the Passion of Christ, the inhabitants of Jerusalem acclaimed Jesus at the entrance of the city as a sign of triumph and victory. In that sense, it evokes ascension, regeneration and immortality. Likewise, we cannot forget that the palm tree was one of the trees that existed in paradise. Iconographically, in the expulsion of Adam and Eve from the Garden of Eden, this element usually appears as an allegory of justice.Finally, a basket of roses speaks of the “Mystical Rose”, as a symbol of the passion and charity of Christ, showing Mary as queen of flowers and queen of virtues, as St. Bonaventure reflected in his work “The Mystical Vine”. 

Miguel Jeronimo de Zendejas (Puebla de los Angeles, Mexico, 1724 - 1816)"Saint Joseph and Child"Oil on canvas. Signed, dated in 1766 and located in Puebla: "Migl. Germo. de Zendejas. Pinx en la Ciud. de la Puebla de los Angs. en las Yndias Occidentales, año de 1766 en 26 de Julio". ("Miguel Jerónimo de Zendejas. Painted in the City of Puebla de los Ángeles in the West Indies, year 1766 on 26th of July").94 x 67,5 cm.Miguel Jerónimo de Zendejas was a prominent and prolific artist from Puebla in the 18th century. With great creative and allegorical capacity, his paintings situate him as one of the favourites of the elites, especially in the high clergy, who maintained his workshop with their patronage. Having worked as an apprentice for artists such as Gregorio Lara or José Joaquín Magón, he established his own workshop, which had, as we said, ecclesiastical sponsorship.He was known for his confident and imaginative way of painting, with skilled and harmonious use of chiaroscuro.The Church of San Juan Evangelista in Iglesias, near Angelopolis, houses four of his canvases from 1775 depicting moments of the Passion, which are considered to be some of his best paintings, which also include "El Almacén" (The Warehouse) which is now in the National Museum of History at Chapultepec Castle, an allegory of the founding of the Puebla Botanical Garden, paying homage to its founder, Antonio de la Cal y Bracho; and his last oil painting, "The Prayer in the Garden," kept in the Calvary Chapel of the Parish of San José, Puebla.

Large collection of prepared microscope slides, including animal and human pathological, physiological and histological specimens and botanical specimens, mostly annotated in ink, with examples including earthworm ovary, pneumonia lung, tip of a human tongue and rabbit cerebellum, contained within two mid 20th century wooden specimen cabinets with glazed doors, each containing twenty-eight plastic slide trays, cabinet H46cm

Early 20th century brass microscope, with black lacquer finish by C. E Baker of High Holborn, with lenses and plates contained within a wooden case, together with a collection of prepared microscope slides of predominantly histological and botanical specimens, contained within a wooden case

Chinese school, 19th century, a botanical studyWatercolour on paper.19cm x 23cmProvenance:From the estate of a distinguished collector of Islamic and Indian art, the property of a gentleman.

A group of nine 19th century watercolours of Indian buildings, characters, botanical studies and river scenes with boats, each with inscriptions verso, and most bearing blindstamps marked 'Wynne Bath with the symbol of a crown; together with a sheet of calligraphic inscriptions and two cut-out illustrations on card, largest sheet: 32 x 24 cm

Margaret Hawkes (20th Century) - A folio containing a variety of artworks, to include: watercolours of botanical and animal studies; anatomical studies; life drawing and other figurative drawings, as well as two figurative oil studies, largest sheet approx. 51 x 64 cm

A large collection of 18th-19th century engravings, bookplates, maps and lithographs, mostly hand-coloured, to include: Naturalist and botanical studies; French fashion illustrations; A Map of principal rivers; two Vanity Fair chromolithographs after Spy and others

Two framed botanical studies: After Basilius Besler - 'Fructus Opuntia' and 'Flos Solis major' (from The Hortus Eystettensis), colour prints, in black and gilt frames with moulded decorations 50 x 60 cm (2)

After Basilius Besler (1561-1629) for his book 'Hortus Eystettensis' - Two botanical prints, Fructus Artischochi and one other, reproduction colour prints framed as a pair, frame dimensions: 84 x 75 cm (2)

Six framed works, to include: Horse rider in the snow, oil on canvas; two prints of botanical studies, one in lime-washed frame: 60 x 41 cm, 19th century etched illustration of shell inscribed 'Jamaica', framed botanical sample and one other (6)

REINWARDT, Caspar Georg Carl (1773-1854) -- COLLECTION of letters addressed to the botanist Caspar Georg Carl Reinwardt. (1810-30-s). 8 autograph letters by prominent European scientists (naturalists, botanists), i.a. Elias Fries, Thomas Horsfield, Charles Lyell, Leonard Horner, Nathaniel Wallich, Carl Friedrich Philipp von Martius. (Fold.) lvs., for the greater part written on r° & v° (in diff. languages), all signed, 3 w. wax seal. Dif. sizes. (Some small defects).NOTE: Caspar Georg Carl Reinwardt (1773-1854) was a Prussian-born Dutch botanist. He is considered to be the founding father of Bogor Botanical Garden in Indonesia.

LEIDEN -- (MEURSIUS, J.). Illustrium Hollandiae & Westfrisiae ordinum Alma Academia Leidensis. Leiden, J. Marcius & J. à Coster, 1614. (28) lvs, 1-16 pp, (4 lvs), 17-231 pp. W. ti.-engr., lge. fold. plate of the academic procession printed on 2 conjoined lvs, 4 text-engrs. dep. academy building, botanical garden, library and anatomical theatre, & 54 fine engr. portrs. (& six empty medallions) in text. 4°. 19th c. hcl. w. marbled paper sides. (Margins cropped (but ample), small libr. stamp on ti.-p., small rep. to fold. procession plate, some ink stains in places, ms index of the portrayed at end).NOTE: Important work on the founding years of Leiden University, published 40 years after the founding of the university. Extended version of '(MEURSIUS, J.) Illustris academia Lugd-Batava (…)', 1613. Among those portrayed are famous men like Grotius, Dousa, Scaliger, Clusius, Dodonaeus, etc. - Brunet III, 1684; Willems 237 note; Rahir 1802; Van Someren I, 148; Haitsma Mulier/Van der Lem, 334k (ed. 1625).

This exquisite 18th-century hand-tinted engraving features the Violet Finch (Fringilla purpurea) perched among botanical elements. The plate is labeled Pincon violet in French and Der violettfarbige Gimpel in German, indicating its multilingual natural history context. The engraving bears the mark J.M. Seligmann sculps et excud. Norimb., attributing it to Johann Michael Seligmann, a renowned German engraver and publisher known for producing ornithological illustrations in the mid-to-late 18th century. Seligmann famously re-engraved and adapted the bird illustrations of Mark Catesby and George Edwards for European audiences, often enhancing them with botanical elements. This print, Tab. LXXXII, comes from one of his ornithological compilations. The artwork displays fine detailing, precise hand-coloring, and a rich historical context. An exceptional addition for collectors of early ornithological engravings and natural history illustrations.Artist: Johann Michael Seligmann (German 1720-1762)Issued: 18th centuryDimensions: 9"L x 14.75"HCountry of Origin: GermanyCondition: Age related wear.

This exquisite 18th-century hand-colored botanical engraving originates from Phytanthoza Iconographia, the pioneering botanical work by Johann Wilhelm Weinmann. Printed on laid, chain-linked watermarked paper, the illustration features Cereus erectus altifsimg surinamensis, a striking flowering cactus plant meticulously rendered with scientific precision. Weinmann's masterpiece, comprising over 4,000 species, remains one of the most ambitious botanical references of the 18th century. Artist: Johann Wilhelm Weinmann (German 1683-1741)Issued: 18th centuryDimensions: 15"L x 10"HCountry of Origin: GermanyCondition: Age related wear.

A finely detailed antique hand-tinted botanical etching featuring nine plant species, including three orchids, a phlox, and a delphinium. This composition highlights a beautifully rendered Delphinium flower drawing alongside other botanical specimens, with flowering stems meticulously illustrated and hand-colored. Surrounded by scientific botanical sketches and annotations, this exquisite 19th-century print embodies the elegance of vintage botanical artistry. Issued: c. 1837Dimensions: 10.25"L x 14.5"H. Condition: Age related wear.

This exquisite 18th-century hand-tinted botanical engraving depicts Momordica Balsamina, also known as the balsam apple or Pomme de Merveille. The engraving showcases the plant's intricate details, including its leaves, flowers, fruit, and root system. The illustration is accompanied by detailed Latin and French botanical descriptions. The plate is signed Bosse fecit, attributing it to Rene-Louiche Bosse, a noted botanical artist and engraver of the period. Additionally, the print features an embossed collector's seal, further affirming its authenticity and historical significance. The engraving exhibits fine line work and delicate hand-coloring, characteristic of 18th-century botanical prints produced for scientific publications and botanical studies. A remarkable piece for collectors of antique botanical illustrations and early scientific prints.Issued: 18th centuryDimensions: 14.75"L x 22"HCondition: Age related wear. Some light foxing and minor paper wear, consistent with the engraving's historical provenance.

Rogers Banks [1929-2008]Botanical art Rosa Damascena "Madame Hardy" 1832 Painted on 17th century paper from Ruben's studio given by the Keeper of Prints & Drawings in the British Museum to David, 28th Earl of Crawford & Balcarres for Library use, thence to me. Roger Banks. 1989. Frame- 56x44cm.

John Hill (English 1716-1775): Botanical and Floral Studies, set of five 18th century etchings and engravings with hand-colouring pub. 'The History of the British Herbal' and 'The Vegetable System' max 39cm x 25cm (5)

Johann Theodor de Bry (German 1561-1623): Botanical Studies, pair of 17th century etchings or engravings with hand-colouring pub. 'Florilegium Renovatum et Auctum' c. 1641; together with another similar by Pierre Vallet (French c.1575-1657) pub. 'Le Jardin du Roy tres Chrestien Henry IV roy de France et de Navare' max 35cm x 22cm; (3)

Yvonne Skargon (British, 1931-2010) Four botanical illustrations Watercolour on paper Provenance: Ex Geedon Gallery From the Fane collection Dimensions ranging from: 9. in (H) x 9 in. (W) to 14.25 in. (H) x 11 in. (W)

Three prints after Hogarth, together with two botanical drawings From the Fane collection To be sold without reserve

Doulton Lambeth Faience vase in pattern 9853, featuring a tall baluster shape with flared rim and pedestal base, hand painted with an expressive botanical design of fruiting branches in autumnal tones against a cream ground. The faience glaze gives the piece a soft, luminous surface typical of Doulton's fine tin-glazed earthenware. Accented with sgraffito-style decoration in earthy reds and greens. The base is impressed with the Doulton Lambeth England stamp, Faience mark, pattern number 9853, shape number 431, and artist monogram. Measures 8.5"H.Dimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.

A collection of nineteen Shelley fine bone china variety of cups, each beautifully decorated in various floral and botanical patterns with scalloped or fluted forms and delicate pastel or gilt handles. Several notable patterns are present, including Blue Rock, Wild Flowers, Bridal Rose, Dainty Blue, Dainty Pink, and Green Dots. Backstamps on most pieces identify them as Shelley England, with some bearing pattern numbers and named designs. A lovely and diverse set perfect for collectors or display. Cup sizes are 2.5"H x 2" dia. to 2.25"H x 4" dia.Issued: 20th centuryDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.

Pair of York interest stoneware flagons by Pearson & Sons, reading 'J.W.S. Sinkinson Botanical Brewers York - buying using or selling this bottle is illegal, 1908', H27cm, together with four unmarked stoneware jars (6)

Lego - a factory sealed Lego Icons / Botanical Collection set No. 10314 Dried Flower Centrepiece. Retired product.

Lego - a factory sealed Lego Botanical Collection set No. 10289 Bird of Paradise. Retired product.

Lego - a factory sealed Lego Botanical Collection set No. 10311 Orchid flower. Sealed.

Lego - a factory sealed Lego Botanical Collection set No. 10329 Tiny Plants. Sealed.

Lego - a factory sealed Lego Botanical Collection set No. 10281 Bonsai Tree. Sealed.

A breathtaking Lladro Floral Vase (model 01001191), part of a limited edition series, exquisitely hand-painted with intricate white and cream floral blossoms set against a deep red glaze. This stunning porcelain piece exemplifies Lladro's exceptional craftsmanship, blending delicate botanical detailing with a bold, elegant color palette. The base bears the Lladro hallmark and is signed by both J. Ruiz and V. Fernandez, further confirming its authenticity and collectible status. A rare and striking addition to any fine porcelain collection.Artist: Julio RuizIssued: 1972 - 1982Dimensions: 19"HCountry of Origin: SpainCondition: Age related wear.

A finely crafted limited edition Boehm porcelain sculpture depicting a chrysanthemum in full bloom, accompanied by a delicately detailed butterfly. Known for their lifelike botanical renderings, Boehm artisans have meticulously sculpted and hand-painted this piece with exceptional precision, capturing the natural beauty of the flower's layered petals and the butterfly's intricate wing patterns. Boehm, an esteemed American porcelain manufacturer, is celebrated for producing museum-quality floral and wildlife sculptures. This piece exemplifies the brand's dedication to realism and artistry.Issued: 20th centuryDimensions: 8"HCountry of Origin: EnglandCondition: Age related wear.

This finely detailed 19th-century style still-life painting on canvas features a lush and vibrant bouquet of flowers set in a golden urn, resting atop a stone ledge. The composition includes richly colored peonies, tulips, hyacinths, and delphiniums rendered with masterful brushwork and a keen eye for naturalism. The floral arrangement is captured against a subdued background that enhances the brilliance and depth of each bloom. The brushstrokes evoke the tradition of 17th-and 18th-century Dutch and Flemish still life painting, particularly in its use of chiaroscuro and botanical realism. The work is presented in an elaborate Rococo Revival frame with high-relief floral and scroll motifs, accented in gilt and patinated bronze tones, lending an air of opulence and period character. Issued: c. 1980Dimensions: 29.75"L x 33.75"HCondition: Age related wear.

A Moorcroft pottery bowl featuring a delicate display of African lilies in full bloom. The floral design showcases petals in soft pink and golden yellow hues with subtle shading, accented by deep blue stamens. The flowers are surrounded by lush green foliage that blends seamlessly into the bowl's gradient green ground. The wide, shallow form of the bowl provides an elegant canvas for the hand-painted botanical motif, making it a striking decorative piece.Artist: William MoorcroftIssued: 20th centuryDimensions: 10"W x 2.25"HCountry of Origin: EnglandCondition: Age related wear.

Mixed ephemera to include the book 'Philips Popular Manikin edited by W.S Furneaux, botanical prints, a scrap book Location:If there is no condition report shown, please request

TREACLE GLAZED STAFFORDSHIRE POTTERY HUNTING JUG, 18cms height; 3 Chamberlains, Worcester botanical painted dessert plates, Crown Derby "Japan" pattern bread plate and twin handled vase & 2 other pieces

A hand-painted Italian ceramic cachepot featuring a gracefully scalloped rim and twin side handles. Decorated with a charming green and floral motif, the piece showcases delicate botanical patterns framed by vertical green bands. The underside is marked "Italy" with a numerical code, indicating its Italian origin. This elegant cachepot serves as a decorative planter or centerpiece, bringing a touch of traditional craftsmanship to any setting.Issued: 20th centuryDimensions: 6.5"HCountry of Origin: ItalyCondition: Age related wear.

Charming hand-painted porcelain demitasse cup and saucer set by Herend of Hungary, featuring the vibrant Fruits and Flowers pattern. The cup showcases an intricate still-life composition of fruits, florals, and foliage, accented with a pale green handle and fine gold rim. The matching saucer carries complementary botanical motifs, along with whimsical insects delicately painted both on the front and back. Marked on the underside with the Herend blue shield backstamp, the set is numbered 1709 and includes artist's hand-painted marks. This set exemplifies Herend’s traditional craftsmanship and artistic finesse, celebrated for its detailed brushwork and decorative elegance. Cup measures 2.25"H and the saucer just under 4.5"dia. Dimensions: See DescriptionCountry of Origin: HungaryCondition: Age related wear.

A finely detailed antique botanical print featuring various species of Pelargonium, meticulously hand-colored and framed under glass. The engraving showcases delicate floral illustrations with Latin inscriptions, highlighting the precision of historical botanical studies. Elegantly mounted within a cream and gold-tone wooden frame with decorative accents. The back of the frame includes gallery labels indicating provenance. A charming addition for collectors of botanical art and vintage engravings.Issued: c. 19th centuryDimensions: 17.25"L x 22"HCondition: Age related wear.

A finely detailed hand-colored botanical engraving bookplate from Flora Universalis, created by German botanist and artist David Dietrich between 1831 and 1835. This exquisite illustration features various species of Pelargonium flowers from the Geraniaceae family, meticulously rendered with scientific precision. The delicate hues of pink and red, along with detailed foliage, exemplify the 19th-century tradition of botanical art, which combined scientific accuracy with artistic refinement. This engraving is elegantly framed in an antique-style gold and cream-toned frame, enhancing its historical charm. Dietrich's Flora Universalis remains a significant work in botanical illustration, celebrated for its detailed depictions of plant species.Artist: David Dietrich (German, 1800-1888)Issued: c. 1831-1835Dimensions: 17"L x 22.50"HCountry of Origin: GermanyCondition: Age related wear.

Group of three Herend Hungary handpainted porcelain vessels (no lids), each decorated with colorful botanical or avian motifs and delicate gold accents. Includes one coffee pot featuring a pair of birds among foliage with butterflies (marked 1612/RO), a teapot with green handle and bird-and-branch decoration (marked 1605/RO), and a larger floral teapot with a banded floral garland border (marked 602/PO). Each piece is finished with Herend's signature scalloped detailing and gilt trim, with varying color palettes that showcase the brand’s refined artistry. All are marked with the Herend blue shield and crossed brush backstamps to the base. Pots measure 3.5", 5.5" & 6.5"H.Issued: 20th centuryDimensions: See DescriptionCountry of Origin: HungaryCondition: Age related wear. No lids.

A finely detailed hand-colored engraving bookplate from Flora Universalis, created by German botanist and artist David Dietrich between 1831 and 1835, depicting various species of Pelargonium flowers. Labeled as Plate 326, this botanical study belongs to a series that captures the scientific and artistic elegance of plant illustration in the 19th century. The composition features delicate pink and red blossoms with precise anatomical renderings, accompanied by Latin botanical names. The engraving is framed in a decorative two-tone frame with gold and pale green accents, enhancing its period aesthetic. The meticulous hand-coloring adds depth to the finely executed engraving, making it an exceptional example of historical botanical art. Dietrich's Flora Universalis remains a significant work in botanical illustration, celebrated for its detailed depictions of plant species.Artist: David Dietrich (German, 1800-1888)Issued: c. 1831-1835Dimensions: 17"L x 22.50"HCountry of Origin: GermanyCondition: Age related wear.

A Silver Repoussé Floral Bowl with Scalloped Rim, Marked "900".A finely crafted silver bowl featuring a profusion of floral repoussé decoration across its interior and exterior surfaces. The central motif is a symmetrical bloom encircled by interlacing vines and clustered flowers, executed in high relief with delicate chasing. The thickly scalloped rim is adorned with raised blossoms, echoing the bowl’s rich botanical theme. The base is marked "900" indicating a silver purity of 90%.D: Approximately 19cmH: Approximately 5cm432gProvenance: Private property of a distinguished NW London collector.

An early 20th century Maden Bros Botanical Brewers Stone bottle and other stoneware pots, some lidded

A collection of botanical books, to include two 'Beautiful Britain' books of the Cotswolds and the New Forest, Gladys Taylor 'Old London Gardens', with two other studies on Trees and Flowers. (5)

A small botanical wine glass, c.1760, the round funnel bowl engraved with a large naturalistic flower, the reverse with a butterfly, raised on a cable latticinio twist stem and a conical foot, 15cm.Provenance: the collection of Derek Horton.

A small botanical wine glass of possible Jacobite significance, c.1760, the waisted bell bowl finely engraved with a tulip and a flying insect, raised on a double cable airtwist stem and conical foot, 15.3cm.

A pearlware part dessert service, c.1820, printed and coloured in pattern 816 with titled botanical specimens including Clammy Cranes Bill, Dwarf Bramble, Alpine Soldanella and Golden Flowered Henbane, within wide borders moulded with flowers on a turquoise ground, some damages. Comprising: a basket and two stands, two sauce tureens and covers, a sauce ladle, two serving dishes and 11 plates. (21)

Beatrice E. Brooks, group of three watercolour botanical studies, together with another by the same artist, garden scene and an oil on board, still life, signed W. Brooks

An Early 19th Century Staffordshire Creamware Botanical Decorated Tureen and Cover, c.1800, 19x14.5cm high

Elizabeth II (1952-2022), Fifty Pence, 2009, Royal Botanical Gardens, Kew, 7.96g/12h (S H19). Some surface marks, about extremely fine £90-£120

Pair of early 19th century Chamberlains Worcester porcelain tureens and covers, of urn-shaped form, finely painted with botanical specimens, inscribed titles to bases, marks inside covers, 21.5cm highOne has some tiny chips to the outside rim (mostly to the underside), and one small chip to the inside rim. The other has one chip to the inside rim, chips to the underside of the outside rim with a couple of tiny associated hairlines, and one handle repaired.

Great Britain (Mar 4th) Botanical Garden Benham Gold FDC, Llanarthne H/S