The harmonious group of twelve late nineteenth century botanical watercolours, each finely executed in delicate washes and confident lines, depicting individual flowering specimens arranged against plain grounds, the studies including a varied selection of garden and wild blooms, tulips, roses, hollyhocks, violets and similar, rendered with an emphasis on natural posture, leaf structure and subtle tonal gradation rather than rigid scientific classification.
Unknown.
The examples illustrate the following species;
1. Geranium / Pelargonium (likely Pelargonium species)
2. Apple Blossom (Malus domestica)
3. Garden Rose (Rosa species)
4. Periwinkle (Vinca species)
5. Tulip (Tulipa species, possibly late or parrot-type)
6. Mixed Garden Bouquet (including Tulip, Primrose / Auricula type, and Geranium)
7. Larkspur / Delphinium (Delphinium species)
8. Hollyhock (Alcea rosea)
9. Poppy (Papaver species)
10. Tulip (Tulipa species, dark-flowered variety)
11. Larkspur / Delphinium with Red Companion (possibly Penstemon)
12. Bird Study (Exotic species, possibly Bee-eater or Kingfisher-type)
By the latter half of the 19th century, botanical watercolours occupied a space between science and decoration. While earlier examples were often strictly instructional, later works such as these increasingly favoured aesthetic balance and domestic appeal. They were commonly produced for private albums, informal teaching collections, or as exercises by accomplished amateur artists, frequently women, whose work rarely entered the academic canon but survives in these quietly refined studies. Their charm lies precisely in this intersection: accurate observation paired with personal, expressive handling.
A rare surviving group of twelve late 19th-century botanical watercolours, unified in scale, palette and sensibility, and now attractively framed for immediate display. Equally suited to hanging as a grid or line, or dividing into pairs or trios, they offer timeless decorative appeal with genuine period authenticity, works that sit comfortably within both traditional country-house and more contemporary interiors.
The watercolours are in good antique condition overall, with the expected age-related toning to the paper, light surface wear, and occasional minor spotting or softening at the edges consistent with late 19th-century works on paper. No intrusive damage or restoration noted. The new black frames are clean, minimal and sympathetic, allowing the paintings themselves to remain the focus. Some sheets bear faint pencil inscriptions and occasional initials, consistent with late 19th-century amateur or instructional botanical work. The compositions are quietly elegant, each plant isolated and allowed space, giving the group a gentle rhythm when viewed collectively. Now presented in simple black frames, which sharpen the colours and lend a contemporary architectural edge to the ensemble.
By appointment only.
