Edward Dalton Smith (66 results)

Hardcover. Condition: Fair. No Dustjacket. First Edition. ISBN . Hardback. No Dustjacket. Reading Copy Only. Ex-Library with the usual faults, card pocket, ink stamps, etc. Tight sound copy with average wear, some browning to edges of interior pages. No statement of later printing on copyright page. No Signature. …

Condition: New. Smith, Cecil (illustrator).

Condition: New. Smith, Cecil (illustrator).

Condition: New. Smith, Cecil (illustrator).

Hardcover. Condition: vg. Limited ed. 8vo. 374 pp. Orange cloth binding w/dj. Red top edge. Illustrated with b/w drawings. One of 1000 copies signed by the author. Illustrated endpapers. Frontispiece. Some pages still unopened. In very good condition. Cecil Smith (illustrator).

Hardcover. Condition: Near Fine. Near Fine. First Edition. Near fineNear fine (DJ price-clipped) 8vo DJ 373pp [title continued].Back Over the Years, and Taken Down and Edited by M.P. Wentworth. One of 1000 numbered copies signed by Wentworth. Size: 8vo - over 7 3/4" - 9 3/4" Tall. Illustrated by Illustrated by Cecil Smith. (illustrator). Signed By Editor. Book.…

Blatt-Maße ca. 22,5 x 14 cm. -- Sehr schöner kolorierter Kupferstich mit dazugehörigem Textblatt. -- gut erhalten. || Very beautiful colored engraving with accompanying text page. -- in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Englisch Gewicht in Gramm: 10. …

Hardcover. Condition: Very Good. Dust Jacket Condition: Good-. First Edition. 374 pp. Original red cloth covers w/ modest rubbing to corners and spine ends. Light foxing to edges of text block and front endpapers. DJ moderately soiled w/ wear and tear to extremities. Illust. w/ a color frontispiece and b/w drawings. Contents nice. Cecil Smith (illustrator).…

Bild-Maße ca. 20,5 x 12,5 cm. -- Sehr schöner kolorierter Kupferstich mit dazugehörigem Textblatt. -- gut erhalten. || Very beautiful colored engraving with accompanying text page. -- in very good condition. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Englisch Gewicht in Gramm: 10. …

Paperback. Condition: New. Effectively implementing project management has become a key ambition for many firms across the world. The interest project management has garnered from the legal sector is not surprising; the range of benefits it offers are extensive and impactful; including reducing costs, enabling more efficient commodity work, and creating more accurate budgeting forecasts.However, despite the general consensus on its value, adoption rates have been slow across the sector - only a handful of top firms have successfully implemented LPM into their practices, and are reaping the benefits. The slow adoption rates create a real opening for a competitive advantage through Legal Project Management, even at a basic starting level, as according to Jim Hassett even "glacial progress can produce new business when you are competing with firms that are making no progress at all".Featuring expert analysis on the form and function of LPM from leading industry experts, and case studies from top law firms on effective implementation and take-up, this title offers a robust overview of project management functions in the legal sector.…

Condition: New. In English.

Einband - flex.(Paperback). Condition: New. The Lawyer s Guide to Legal Project Management is an invaluable asset for any firm looking to capitalise on the strategic gap in the market whether it be through introducing the fundamentals of LPM, or by bolstering existing functions to incorporate proces.…

Paperback. Condition: New. Effectively implementing project management has become a key ambition for many firms across the world. The interest project management has garnered from the legal sector is not surprising; the range of benefits it offers are extensive and impactful; including reducing costs, enabling more efficient commodity work, and creating more accurate budgeting forecasts.However, despite the general consensus on its value, adoption rates have been slow across the sector - only a handful of top firms have successfully implemented LPM into their practices, and are reaping the benefits. The slow adoption rates create a real opening for a competitive advantage through Legal Project Management, even at a basic starting level, as according to Jim Hassett even "glacial progress can produce new business when you are competing with firms that are making no progress at all".Featuring expert analysis on the form and function of LPM from leading industry experts, and case studies from top law firms on effective implementation and take-up, this title offers a robust overview of project management functions in the legal sector.…

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000. Smith, Cecil (illustrator).

Colored copper print. No. 197 from The British Flower Garden".

Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days. Smith, Cecil (illustrator).

No Binding. Condition: Fine. Edward Dalton Smith (British, 1800-1866) Plate 60 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in Frame size: 15 3/4 x 17 1/4 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 71 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in Frame size: 15 3/4 x 17 1/4 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 52 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in Frame size: 15 3/4 x 17 1/4 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 15 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in Frame size: 15 3/4 x 17 1/4 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 2 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in Frame size: 15 3/4 x 17 1/4 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 163 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 142 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 35 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 22 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in Frame size: 15 3/4 x 17 1/4 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 5 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 103 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 48 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 111 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in Frame size: 15 3/4 x 17 1/4 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.3BH.15B.…

No Binding. Condition: Very Good. EDWARD DALTON SMITH (BRITISH, 1800-1866) Plate 199 Prepared for Robert Sweet's The Florist's Guide Watercolor on paper 1827-32 Paper size: 7 3/4 x 9 1/2 in Frame size: 15 3/4 x 17 1/4 in For many years, E.D. Smith was employed at the Royal Botanic Gardens at Kew and was one of the finest botanical artists of the time. Accomplished in both floral and portrait painting, Smith specialized in miniatures, a fact that accounts for the intricate detail of these watercolors. He was taught by his father, Anker Smith (1759-1819), who was himself a noted engraver and miniaturist. Smith lived in London, exhibiting much of his work from 1816 to 1847. He exhibited at least 66 works at the Royal Academy and an additional 13 at the Suffolk Street Galleries. Smith's skill in small-scale work, evidenced by the exquisite detail of these superb watercolors. Flamboyant tulips appear to rise off the page, their petals unfolding and spilling into the viewer's space. Marigolds, carnations, auriculas, and dahlias are all endowed with a distinct visual character, some with delicate veins traced along with their translucent petals, others fully opaque and vivid. Robert Sweet, Smith's collaborator, was an enterprising horticulturist. He was born at Cockington in Devon but soon moved to the London area, becoming a nurseryman successively at Stockwell (1810-1815), Fulham (1815-1819), and Chelsea (1819-182). As a horticulturist rather than a scientific botanist or botanical artist, he devoted himself to new species with an eye to their suitability for growing in British gardens and hot-houses; he was more interested in the cultivation than the classification of exotic plants. Nurserymen colleagues provided most of the plants that he included in his publications. The partnership between Sweet and Smith resulted in a series of important illustrated flower books. The present watercolors represent Smith's entire contribution to The Florist's Guide. Loca: 6.1BA.…