But it also strives to tell an aesthetic story; hence, the presence of Iznik dishes decorated with tulips and other floral motifs, Dutch still lifes (including a tour de force by Rachel Ruysch featuring poppies with frayed petals that seem to be suffering an electric shock), a drab watercolour of a dog rose by John Ruskin, and a panel painted in 1879 by Lawrence Alma-Tadema depicting a coquettish pale-skinned brunette half-hiding behind orchids. The third and final gallery is filled exclusively with work by contemporary artists, some of it skilfully, and earnestly, executed but second-rate.<\/p>\n
If there is a thread, it\u2019s our fascination with nature\u2019s marvellous weirdness. Several astonishing botanical illustrations \u2013 including that watercolour of a sunflower \u2013 exult in the outlandish, otherworldly forms of specific plants, often blown-up and rendered with crystalline precision.<\/p>\n
Intriguing stories are alluded to throughout \u2013 such as the peculiar Victorian obsession with ferns, which may have influenced the intricate, frond-like design on custard creams. But, in the end, the blooms of interest and knowledge feel unconnected.<\/p>\n