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Displayed below are some selected recent viaLibri matches for books published in 1817

        The Dance of Life, A Poem

      London: R. Ackerman, 1817. First edition. Leather_bound. Fine. Thomas Rowlandson. 6 1/4 x 9 /12 inches. 8vo. [10] + 285 pages. Contains 26 full page hand colored aquatint plates (including frontispiece and engraved title page) by Thomas Rowlandson, each with protective tissue intact. Bound to match The English Dance of Death (#1301) with matching decorated (patterned) red and gold endpapers. All page edges gilt. Bookplate of Julius Thompson Benedict and Cecille Murphy Benedict. Contents generally quite clean and almost entirely free of offsetting from the plates. Bound in matching signed (gilt stamped) later 19th Century navy morocco by Tout with triple filleted borders and floral corner pieces on covers. Spine with six compartments. Title and author in two compartments. The remaining compartments with elaborate gilt tooled decoration. A particularly finely bound first edition in book form of Rowlandson's Dance of Life, the sequel to his English Dance of Death which was, "the only series on the subject since Holbein's to rival that master." Ray, The Illustrator and the Book in England 35.

      [Bookseller: St. Wulfstans Books]
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        HISTORY OF THE EXPEDITION UNDER THE COMMAND OF CAPTAINS LEWIS AND CLARKE TO THE SOURCES OF THE MISSOURI, THENCE ACROSS THE ROCKY MOUNTAINS AND DOWN THE RIVER COLUMBIA TO THE PACIFIC OCEAN. PERFORMED DURING THE YEARS 1804-5-6

      Dublin: J. Christie, 1817.. Two volumes. [12],xxvii,[1],588; [2],xii,[3]- 643pp. plus engraved folding map, five engraved maps and plans, and one engraved view. Later 19th- century three quarter calf over marbled boards, spine gilt, maroon gilt labels. Covers worn and soiled, spines rubbed and cracked, hinges tender. Occasional foxing and staining, otherwise internally clean. Ownership inscription on titlepage if each volume: "James Hudson, Kings Coll., Windsor." Gift inscription on verso of titlepage in first volume reads: "David and William H. Hudson, to their brother James on his going to America, June 28, 1831." A very good copy. In a half morocco and cloth box. First Dublin edition, the rarest of the early editions of the Lewis and Clark narrative. The engraved plates present here are far cleaner than encountered in the original edition, further enhanced by the presence of an additional plate depicting the principal cascades of the Missouri River. The folding map closely resembles that in the 1814 Philadelphia edition, and Coues notes that the typography and line spacing make this Dublin edition easier to read than the Philadelphia edition. This is the most famous of all western travels, and the cornerstone of any collection of Western Americana. Described by Wagner-Camp as "the definitive account of the most important exploration of the North American continent," this work finally appeared in print nearly eight years after the journey's completion, and then with the initial help of Nicholas Biddle, and ultimately under the editorship of Paul Allen. The expedition itself, the brainchild of Thomas Jefferson, was the final grand attempt to find a water route across the continent. While the search was unsuccessful, Lewis, Clark, and their companions were the first white men to cross the western half of North America. In total, the expedition covered some eight thousand miles in slightly more than twenty-eight months. They brought back the first reliable information about much of the area they traversed, made contact with the Indian inhabitants as a prelude to the expansion of the fur trade, and advanced by a quantum leap the geographical knowledge of the continent. The biography of Meriwether Lewis by Thomas Jefferson was omitted from the London edition, though present in the first American printing. "Of all of the reissues this one is the best, being nearest the original, of which it is a faithful and literal reprint" - Coues. A rare copy of an early printing of the account of Lewis and Clark's expedition. Only two complete copies of the Dublin edition have been offered at auction in the last twenty-five years. WAGNER-CAMP 13:6. LITERATURE OF THE LEWIS AND CLARK EXPEDITION 5a.6. HOWES L317, "c." GRAFF 2482. SABIN 40831.

      [Bookseller: William Reese Company - Americana]
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        A Voyage Round the World, from 1806 to 1812; in Which Japan, Kamschatka, the Aleutian Islands and the Sandwich Islands Were Visited... With an Account of the Present State of the Sandwich Islands, and a Vocabulary of Their Language

      NY., 1817.. b/w folding map. First American edition. “An account of Cambell’s journey to China and Japan, and along the coast of Alaska. Of great value is his description of the Hawaiian Islands. Campbell became close to Kamehameha I, King of Hawaii, and became the king’s sailmaker. He built the first loom in those islands. After a shipwreck, Campbell had both his feet frozen... American imprints of this date, relating to Pacific voyages, are rare.” - Hill 245. “Campbell’s description of Kodiak is particularly valuable.” - Lada Mocarski 71. “Probably the earliest printing of a Hawaiian vocabulary in America. The American edition contains information not found in the Edinburgh edition.” - Forbes 461. See also Hunnewell p. 29. Huntress 184C. Judd 30. Pages tanned, red line under “Campbell” on title page, otherwise a very presentable copy of a scarce book. Bound in later burgundy morocco over 19th century marbled boards.

      [Bookseller: Ten Pound Island Book Co.]
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        Narrative of the Adventures and Sufferings of Samuel Patterson experienced in the Pacific Ocean with an Account of the Feegee and Sandwich Islands [Hawaii]

      Palmer, Mass: From the Press in Palmer, 1817. 144p. a very good copy with a chip out of margin on p. 61-62 not affecting the text. An important early account of Hawaii. Samuel Patterton visited Hawaii in 1805 and again in 1807 where he observed and writes of their religion, government, marriage customs, awa root and sugar cane and many other issues. A later edition omits the bottom of page 70 and the top part of page 71 which some speculate is because of a missionary's disagreement. Here, of course, is the original text unaltered. Caleb Weaver Johnson's copy. Bound in full calf, handsomely rebacked retaining original red morocco spine label gilt, one corner restored. Hawaiian National Bibliography: 1780-1900, Vol. I, #470; Howes P122; Hill 227; Sabin 59145; Shaw and Shoemaker 41734.. 12mo - over 6¾" - 7¾" tall.

      [Bookseller: Alcuin Books, ABAA-ILAB]
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        Travels to the Source of the Missouri River and across the American Continent to the Pacific Ocean. Performed by order of the government of the United States, in the years 1804, 1805, and 1806. By Captains Lewis and Clarke. Published from the Official Report

      London: Printed for Longman, Hurst, Rees, Orme, and Brown, 1817. 3 volumes, octavo. (8 1/4 x 5 1/4 inches). 1 folding engraved map by Neele, 5 engraved plans. Expertly bound to style in half morocco over contemporary marbled paper covered boards, spines gilt. Third London edition of the "definitive account of the most important exploration of the North American continent" (Wagner-Camp). The book describes the U.S. government-backed expedition to explore the newly-acquired Louisiana Purchase undertaken from 1804 to 1806 by ascending the Missouri to its source, crossing the Rocky Mountains, and reaching the Pacific Ocean. In total, the expedition covered some eight thousand miles in just over twenty-eight months. They brought back the first reliable information about much of the area they traversed, made contact with the Indian inhabitants as a prelude to the expansion of the fur trade, and advanced by a quantum leap the geographical knowledge of the continent. Because of the death of Lewis, the publication of the official account was delayed until 1814, when the Philadelphia edition appeared. The 1814 British quarto edition quickly sold out, necessitating a three-volume 1815 octavo edition to satisfy public demand; the present edition followed. The large folding map of the West (by Neele after the original Philadelphia edition map) recalls an extraordinary feat of cartography, accurately revealing much of the trans-Mississippi for the first time. It is on a slightly larger scale than the original, Wheat notes that the map is almost identical to the Philadelphia edition "except for a few minor variations." Howes L-317. cf. Sabin 40830; Wagner-Camp 13:4; cf. Wheat Transmississippi 317.

      [Bookseller: Donald Heald Rare Books]
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        Auszug aller im Königreich Böhmen bestehenden Verordnungen und Gesetze nach Johann Roths, Advokaten und Justiziärs der k. k. Staatsherrschaften Rotischau und Kladrau, unter buchstäblich gereihten Aufschriften der Gegenstände nach der Zeitfolge verfaßten Sammlung neu aufgelegt, verbessert und vermehrt durch Johann Blaseck, k. k. Rath, Unterthansadvocaten und Fiskaladjunkten im Königreiche Böhmen

      Prag, Scholl 1817 -1819. 21 cm. 12 Bände; 6, 7-396; [36], 37-647; 626; 612; [10], [3]-546; [10], [3]-624; 599; 568; 676; 626; 632; [2], 464 Seiten Festeinband, Halbledereinband der Zeit mit Rückenschild. Stempel auf Titelblatt

      [Bookseller: Wenner Antiquariat]
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        VICTOIRES, CONQUETES, DESASTRES, REVERS ET GUERES CIVILES DES FRANCAIS DE 1792 - 1815 (26 VOL - MISSING VOLS 25 AND 25)

      Paris: C. L. F. Panckoucke, 1817 - 1822. Hardcover. Very Good. 26 Vol – missing Vols 15 and 25. 5 x 8 3/4 in. Brown quarter calf with gilt lettering and decoration on spine. Faux wood grain paper boards. 158 engraved maps, many of them fold-out. Text in French. Condition of books is VERY GOOD; & Wear and scuffing to corners and edges. Spine leather has fine crackling. Covers are faded – darker along an inch or more closest to spine. Some foxing, water stains throughout, but maps are almost all very clean. Corners very worn. Vols, 21, Small David B. Ogden bookplate on front pastedown, text very clean. Top edge of text block darkened. Bindings sound. &

      [Bookseller: Andre Strong Bookseller]
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        The Botanical Cabinet consisting of coloured delineations of plants, from all countries, with a short account of each, directions for management &c. &c

      London: [1817]-1833. 20 volumes, small quarto. (8 3/8 x 6 1/2 inches). 2000 engraved plates (all but one fully hand-coloured, as issued), engraved by George Cooke after drawings by G. Loddiges, W. Loddiges, Miss J. Loddiges, G. Cooke, E.W. Cooke, W.I. Cooke, T. Boys, W. Miller, P. Heath and Miss Rebello. Early 19th-century half burgundy morocco over marbled paper covered boards, spines with raised bands in six compartments, lettered in the second and third compartments, marbled endpapers. Fine set of the rare large-paper, wholly coloured issue: one of the most beautiful British botanical periodicals of the 19th century. Conrad Loddiges, a Dutch-born horticulturalist, settled in Hackney as a nurseryman in about 1761. The present work was edited by his son, George (1784-1846), who continued his nursery business. The Botanical Cabinet was originally published in monthly parts, each containing ten plates, between May 1817 and December 1833 in both quarto and octavo issues, the former being fully hand-coloured and priced 5s per part, and the latter being partially hand-coloured and priced 2s.6p per part. Loddiges writes in the Introduction: "We purpose to give such a representation of each plant as shall directly lead to what we may call a first-sight acquaintance with it; also some account of those peculiar qualities which any of them may be known to possess, a few hints on their cultivation, and any other remarks which may be thought interesting. Surrounded as we are, and have been from our infancy, by these choicest beauties of nature, we wish not to enjoy them alone. No! let them be diffused throughout the world; that all may participate who have a mind capable of delighting in them..." The text for the final plate (number 2000, an orchid, named by Lindley Cynoches Loddigesii) includes a final statement "Having been able to complete our twentieth volume ... our labours are closed; the precarious state of our draughtsman's health not permitting him to go any further." The large-paper, fully coloured issue is considerably more scarce and desirable than the regular issue. Furthermore, considering the lengthy run of publication, sets are often found incomplete. This fine, complete set with noble provenance to the Viscount Doneraile. Nissen BBI 2228; Great Flower Books (1990), pg. 160; Dunthorne 187; Stafleu TL2 4914.

      [Bookseller: Donald Heald Rare Books]
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        LA VOLIERE DE LA JEUNESSE

      Paris: Libraire Rue Hautefeville. Good with no dust jacket. 1817. Hardcover. French Language; B/ W engravings; 12mo 7" - 7½" tall; iii, 164 [2]; 263 [3] pages; La volie Re de la jeunesse, ou Cours complet d'e Tude sur l'histoire naturelle des oiseaux ... Suivi d'un traite Sur l'art de les empailler. Tall 12mo, contemp. Gilt-paneled speckled calf, spines richly gilt, morocco spine labels; worn & desiccated. With 64 folding engraved plates of birds [as called for], in G/VG condition. Occasional minor dampstaining. French language text. Complete. Contents good. French Language text. WorldCat locates only 1 copy. .

      [Bookseller: poor mans books]
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        The Club; In A Dialogue Between Father And Son. In Vino Veritas

      London: Longman, Rees, Orme and Brown, 1817. leather_bound. Full maroon morocco.Aeg. Very good/No Dust Jacket. 96 pages. 26.5 x 19 cm. First published 1711. Limited ediiton, Large Paper Copy [Imperial Edition], one of 200. With three ALS laid-in -- two from James Rimell & Son Ltd, a London Bookseller to Edgar H. Wells, rare book dealer in New York from 1921 to 1938 on Madison Ave., discussing the authenticity of the Imperial Edition, and one from Philip Hofer [to Wells] on New York Public Library letterhead, verifying this copy as an Imperial Edition together with bibliographical details for the various editions of this work. All letters dated 1932. Hofer also invites Wells to tea, offering to show him copies of the three issue described in his letter. With a series of engravings drawn by John Thurston. First few leaves toned, mostly marginal; infrequent additional and minor text spotting. Bookplate, half centimeter nick spine head with loss, slight joint rubbing, raised bands, spine panels richly gilt, cover border fillets encase gilt arabesques and corner florets, inner dentelles, marbled endpapers. From the Library of Jacques Levy.

      [Bookseller: Royoung bookseller, Inc.]
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        ADDITIONS TO THE FOURTH AND FORMER EDITIONS OF AN ESSAY ON THE PRINCIPLE OF POPULATION

      London: John Murray, 1817. FIRST EDITION. Hardcover. With Malthus' Final Revisions,Our Copy Untrimmed in Original Boards. 229 x 152 mm (9 x 6"). 2 p.l., 327, [1] pp. FIRST EDITION. ORIGINAL BLUE PAPER BOARDS, neatly rebacked in buff paper, original printed paper spine label, UNTRIMMED EDGES. 19th century bookplate. Goldsmith 21762; Kress B.6973; Palgrave II, 676. Spine label chipped and rubbed, with significant loss of legibility, a little soil and wear to original sides (as expected), but the boards surprisingly well preserved, and the well-restored binding absolutely tight. First few leaves and last three gatherings freckled with foxing, minor foxing elsewhere, a few trivial spots, but excellent internally, still rather fresh and not at all darkened or browned. "An Essay on the Principle of Population," the great work of Malthus (1766-1834), was first published in 1798. Its main thesis held that while population increases in a geometric ratio, the means of subsistence only increase arithmetically, with the inevitable result that the expanding population will eventually outstrip the means of livelihood and leave millions facing deprivation (unless war or disease eliminates them first). Malthus later softened some of his harshest predictions, and the prosperity of the 19th century in Britain tended to discredit his work, but we are forever in his debt for "having called public attention in a striking and impressive way to a subject which had neither theoretically nor practically been sufficiently considered." (Britannica) The additions in the present volume constitute the author's final revisions to a text that was altered in each of the six editions through which it passed in Malthus' lifetime.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        MAPS, PLANS, VIEWS, AND COINS, ILLUSTRATIVE OF THE TRAVELS OF ANACHARSIS THE YOUNGER IN GREECE, DURING THE MIDDLE OF THE FOURTH CENTURY BEFORE THE CHRISTIAN ERA

      London: J. Mawman; Rivington; Cadell and Davies, et. al., 1817. Some light foxing, but quite a clean and lovely copy. Fifth edition Quarto. [iv], 106p. Illustrated with 39 engraved plates and maps, some hand-colored, one large folding map (complete). Bound by Bennett in 3/4 dark blue crushed morocco with marbled sides and endpapers, the spine with gilt titles and double gilt rules around the panels with dotted ruled on the bands

      [Bookseller: First Folio]
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        Rosa Candolleana Elegans / Rosier de Candolle [De Candolle Rose]

      Paris: Firmin Didot, 1817-1824. Stipple engraving printed in black, after Redouté, printed by Rémond. Very good condition apart from some overall light soiling. 14 x 10 5/8 inches. A rare uncoloured impression from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time. Pierre-Joseph Redouté, the most successful flower painter of all time, produced a work that was not only of great artistic merit, but also formed an invaluable scientific recordl. Redouté described and figured almost all the important roses known in his day, and included were many of the ancestors of today's roses. "The plates in 'Les Roses' have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone found in Redouté's original water-colours. During a trip to London, he met the renowned engraver Francesco Bartolozzi and learned that the most successful impressions of stipple engravings came from well-used plates. Redouté's printers therefore struck a limited number of black plates to take the edge off the plate before printing in colours. This print was printed in black on ochre-tinted paper. The ochre tint has subsequently been removed to reveal Redouté's full mastery of the stipple-engraving technique that this image so effortlessly demonstrates. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747

      [Bookseller: Donald Heald Rare Books]
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        Histoire du Règne de l'Empereur Charles-Quint. 4 volumes

      Chez Janet et Cotelle,Libraires. Imprimerie Didot., 1817. Plein veau dos lisse piéces de t Très belle reliure. Tranches à la cuve. Tome 1:520pp. tome 2:405pp. Tome 3:405pp. Tome4:515pp.

      [Bookseller: Le Lutrin des Alpages]
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        Pomona Britannica; or, a collection of the most esteemed fruits at present cultivated in Great Britain; selected principally from the royal gardens at Hampton Court, and the remainder from the most celebrated gardens around London

      London: Bensley & Son for Longman, Hurst, Rees, Orme & Brown and John Lepard, 1817. 2 volumes in one, large 4to. 60 stipple-engraved plates by G. Brookshaw, printed in colours and finished by hand. Contemporary olive straight-grain morocco with elaborate borders in gilt and blind, spine gilt in compartments with raised bands, gilt edges. Brookshaw's masterpiece: a good copy in untouched "country house" condition. Although this work has traditionally been considered the second edition of Brookshaw's earlier work of the same name, it is essentially a new work: the format is different (quarto rather than large folio), the plates are different (and engraved by the author himself), and the text was extensively re-worked and brought up to date. The result is a work whose plates are both spectacular examples of the art of stipple engraving and also important and useful historical records of particular cultivars. In total, the work includes details of 174 cultivars of 15 types of fruit (5 strawberries, 3 raspberries, 12 gooseberries, 15 cherries, 25 plums, 8 apricots, 25 peaches, 13 nectarines, 4 grapes, 4 melons, 8 figs, 4 hazel or cob nuts, 19 pears and 26 apples). The plates, numbered from I-LX, are of the following fruits: 1 of strawberries; 1 of raspberries, 1 of currants, 1 of gooseberries, 5 cherries, 9 plums, 2 apricots, 10 peaches, 4 nectarines, 4 grapes, 4 melons, 1 nuts, 8 pears and 7 apples). The introduction lays out the aims of the book (the main one being Brookshaw's wish to "excite in gentlemen ... a predominant turn and ardour for horticultural pursuits"), whilst also bemoaning the fact that between October 1815 and May 1816 almost £60,000 worth of apples had been imported from France. The main text gives useful details of each cultivar pictured: its history, cultivation, usefulness and taste. A 4pp. table at the end of vol. II lists the owners and locations of the gardens from which Brookshaw obtained his specimens: most from specimens in various royal gardens (Hampton Court; Windsor; Kensington Gardens; the Prince of Wales' house at Blackheath and the Duke of York's residence at Oatlands), but others came from the noble collections at Sion House, Strawberry Hill, Osterley Park and Chiswick House, and the private collections of connoisseurs such as James Maddock of Walworth, Dr. John Coakley Lettsom of Grove Hill in Camberwell and Sir Joseph Banks. Until the early 1990s details of Brookshaw's life had been lost, but in a recent article, Lucy Wood uncovered much of the remarkable story of the man who began his career as a celebrated cabinet-maker and died a relatively unknown botanical artist. By 1783, the Birmingham-born Brookshaw was a fashionable and successful cabinet-maker, known for his furniture with all-over painted decoration with figurative, landscape and, above all, floral themes. By the mid-1790s he had disappeared. Lucy Woods suggests that a scandal of some sort drove him to abandon his career and to live under an assumed name, working at a completely new career. She believes that A New treatise on Flower Painting, published anonymously in 1797 and later (in the third edition of 1799) in the name of G.Brown, was actually by Brookshaw, whose A Supplement to the Treatise on Flower Painting published in 1817 has largely the same content - including 11 plates supposedly by Brookshaw but identical to those in the earlier work, where they were attributed to Brown. If Wood's hypothesis is correct, then the Pomona (the first edition was published between 1804 and 1812) marks the first public resumption by Brookshaw of the use of his own name, as well as the first indication of his new metier. Sadly, Brookshaw and his work seem to have been disregarded by the eminent botanists of his day - perhaps the whiff of scandal still acted as a deterrent, perhaps his scientific pedigree lacked the necessary gravitas. He died in 1823 with less than 100 pounds in his bank account. The anonymous preface to his Horticultural Repository, published posthumously, relates that "although ... undistinguished in his death, his latter days were passed in comfort; and although he died poor, he did not want". Bunyard p.432; Dunthorne 51; Great Flower Books (1990) p.81; Nissen BBI 244; Oak Spring Pomona 40b; Prideaux p.295.

      [Bookseller: Donald Heald Rare Books]
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        Flora Londinensis: containing a history of the plants indigenous to Great Britain, illustrated by figures of the natural size ... A new edition, enlarged by George Graves

      London: printed for George Graves by Richard and Arthur Taylor, 1817-1828. 5 volumes, folio. (18 3/4 x 11 5/8 inches). 647 plate sheets containing 659 subjects, all engraved and hand-coloured, after Sydenham Edwards, William Kilburn, James Sowerby, George Graves and William Jackson Hooker. Expertly bound to style in dark green half morocco over contemporary marbled paper covered boards, spines with wide bands in six compartments, lettered in the second, third and fourth compartments, the others with a repeat decoration in gilt, marbled edges. A very fine set of the first issue of the second enlarged edition of the first national flora of Great Britain with coloured plates. This copy inscribed by Hooker to Francis Boott, the American-born physician, botanist and secretary of the Linnaean Society. This second edition is a substantially new book, containing over 200 more plates than the 434 in the first edition of 1775-1798 and with the text rewritten by Hooker. Henrey notes that "the five volumes may contain a total of 648 plates", but of the copies listed as having sold at auction in the past thirty-five years, only the Botfield copy had 648. John Collins has speculated that this "extra plate is very likely to be a cancel" and therefore not required for the work to be considered complete. The first edition was originally published in seventy two numbers which appeared between 1775 and 1798, and was highly acclaimed by Curtis's fellow naturalists. John Lightfoot wrote to Curtis in 1781, "I am charmed with every number of your excellent Flora." The plates for the first edition, all of which reappear in the present edition, were generally unsigned but from those that are signed it is known that the artists involved included William Kilburn, Sydenham Edwards, James Sowerby and Francis Sansom. After William Curtis's death in 1799, the plates and stock of the Flora passed to Samuel Curtis, and then, in part, to George Graves. Graves published the present enlarged edition between 1817 and 1828, with over 200 additional new plates by Graves and William Jackson Hooker and with revised text by Hooker. In 1834, the plates and other materials were sold to Henry G. Bohn, who reissued the work using the existing text and plates but with new title pages (dated 1835) and with the species re- arranged in alphabetical order according to their Latin binomials. This first issue of the second edition is in many ways the most desirable, as it contains the maximum number of plates and with Hooker's valuable textual additions present here for the first time. This copy a particularly handsome set, and a rare association copy, inscribed by Hooker to a noted botanist and the secretary of the Linnaean Society. Brunet II,447; Bradley Bibliography I, p.395; Freeman 883; Great Flower Books (1990) p.88; Henrey III, 596; Nissen BBI 440 (incorrect plate count); Pritzel 2005; Stafleu & Cowan I, 1286.

      [Bookseller: Donald Heald Rare Books]
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        (Botanique, Fac-similé) - Les Roses, par P.J. Redouté, peintre de fleurs, dessinateur en titre de la Classe de Physique de l'Institut et du Muséum d'Histoire naturelle. Avec le texte, par Cl. Ant. Thory

      PARIS, (ANTWERP) FIRMIN DIDOT (DE SCHUTTER S.A.), 1817-1824 (1974 [- 1978).. 4 vol. très gr. in-f°. Rel. moderne , -- Bound, Large folio (55 x 36 cm). 4 volumes.156,122,125,386 pp. With 179 very fine colour plates. A complete facsimile of the first edition. FAC-SIMILÉ de l'édition originale illustrée du portrait de Redouté, d'une couronne florale en guise de frontispice et de 169 gravures en couleurs finement gravées d'après Redouté, le "Raphaël des fleurs". Monument de la littérature botanique, tant sur le plan artistique que scientifique et documentaire, donnant des spécimens anciens dont plusieurs ont disparu entre-temps. Texte et classification dans leur ordre naturel par Thory (1757-1827), amateur botaniste et polygraphe. Pour le fac-similé, il a été ajouté 1 volume de "Commentaires" en français et anglais par Gisèle de La Roche et Gordon D. Rowley. Tirage à 510 ex. num.-- An limited reprinted edition to 510 copies, With 179 colour plates. Finely a foreword by George Taylor, introduction and bibliography by G.D. Rowley, biographies and bibliographies, with additions from the third edition, portraits, and extensive new material including commentaries, fine condition.

      [Bookseller: ERIK TONEN BOOKSELLER]
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        La Divina Commedia di Dante Alighieri: dell'Inferno, del Purgatorio, del Paradiso [complete in 3 vols]: gia ridotta a miglior lezione dagli Accademici della Crusca ed ora accuratamente emendata.

      Livorno:: Presso Tommaso Masi e Comp,, 1817.. Hardcover. Near Fine. Vol I: xxiv, 422, plus the portrait frontis, and the diagram of the Inferno facing p.1; Vol II: [ii], 431, with a frontis; Vol III: [ii], (3-) 468, with a frontis: [and, unexpectedly, bound with: Morte di Ugo Bas-Ville e Orrori della Rivoluzione di Francia; cantica di Vincenzo Monti: Londra, Da Torchj di Schulze e Dean, 1814: 36pp including title]. There is an 1828 gift inscription at the head of each title page of the Commedia, with an 1870 inscription below, recording the former recipient passing the set on to her neice. Contents very clean. 150x95mm, in contemporary full calf bindings, spines each with lattice decoration in gilt and two black labels. A few marks to the lower board of Vol III. Some subtle refurbishment to joints and ends with Japanese tissue. A very pretty bright set.

      [Bookseller: Chapel Books]
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        The New Testament of Our Lord and Saviour, Jesus Christ

      Calcutta: printed by P. Pereira, at the Hindoostanee Press,, 1817. Translated into the Hindostanee Language from the Original Greek, and now printed in the Nagree Character. By the Rev. H. Martyn... and afterwards carefully revised with the assistance of Mirza Fitrut, and other Learned Natives. For the British and Foreign Bible Society. Octavo (200 × 135 mm). Contemporary native polished tree-calf, numbered "23" in gilt at foot of spine. 2 title pages, one English, one Urdu, text in Urdu. Bookplate of the Theological Institute of Andover. Joints and corners very lightly rubbed, small tears to front free endpaper, English title page very slightly loose, otherwise internally fresh and overall in excellent condition. First complete and accessible edition of the New Testament in Urdu, a form of Hindustani used as the vernacular language by the native inhabitants of the Upper Provinces of India. Before Henry Martyn, there had been two previous translations into Urdu: one poor translation (into the unprevalent Dakhini form of Urdu) of the New Testament by Benjamin Shultze of the Danish Mission in 1745; and a partial translation, of only the Four Gospels, into the Nagree script by William Hunter of the College of Fort William in 1805. "The real story of Urdu translation begins with the arrival in India of Henry Martyn" (Bible Society of India); his painstakingly accurate Urdu translation of the entire New Testament was the best and most complete to that date, but its first publication, in Serampore in 1814, was in a Persian character unfamiliar with the natives. This second edition, for the first time printed in the familiar Nagree character, is therefore the first complete translation of the New Testament in an accessible script, and marks a significant typographical achievement by the Indian missionary press, widening the diffusion of Christianity by making the Urdu text accessible to the Urdu speaking native population. Shortly before the publication of this 1817 Nagree edition, the British and Foreign Bible Society reported: "The circulation of the Scriptures in the vernacular dialects of India, though a primary object of ... this Society, has not yet been extended to any of the languages spoken by the native inhabitants of the provinces connected with the Presidency ... An excellent translation of the New Testament in the Persian character ... has not been published in the Negree character. A specimen of the Deva Nagree character [was] obtained from the Hindoostanee Press ... The time necessarily occupied in preparing the manuscript in the Negree character, has prevented any progress being yet made in this edition ... it is hoped that the Gospel may still be diffused in the colloquial tongue and familiar character of the Hindoostan, before the expiration of the present year." (Thirteenth Report of the British and Foreign Bible Society, p. 5-7, 1817. Darlow & Moule 5273). Of the 2000 copies printed only five are located by OCLC in US institutions: Yale, Amherst, Harvard, Bowdoin, and Dartmouth; and fewer in the UK, OCLC and COPAC together locating only Oxford, Kings Colllege London, and Cambridge.

      [Bookseller: Peter Harrington]
 19.   Check availability:     Biblio     Link/Print  


        Rosa muscosa / Rosier mousseux [Single Moss Rose 'Andrewsii']

      Paris: 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Gouten. Very good condition apart from some minor foxing in the image. 14 x 10 1/4 inches. More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty. Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full- time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes. Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Great Flower Books (1990), p 128; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Stafleu & Cowan TL2 8748.

      [Bookseller: Donald Heald Rare Books]
 20.   Check availability:     Biblio     Link/Print  


        Rosa centifolia. Rosier à cent feuilles." Darstellung eines Zweiges der Zentifolie (Provence-Rose) Rosa Centifolia L. "Major" mit großer gefüllter Blüte, Knospen und Blattwerk

      Altkolorierter Kupferstich von Couten nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34.5x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Mit dem beschreibendem Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 21.   Check availability:     Biblio     Link/Print  


        Rose Orbessanea

      Paris: 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Lemaire. Very good condition apart from some very light foxing. 14 1/2 x 10 3/4 inches. More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty. Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full- time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes. Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Great Flower Books (1990), p 128; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Stafleu & Cowan TL2 8748.

      [Bookseller: Donald Heald Rare Books]
 22.   Check availability:     Biblio     Link/Print  


        Rosa Rubiginosa Cretica. Rosier de Crête." Darstellung eines Zweiges der Weinrose Rosa Rubiginosa L. mit Blüte, Knospen und Blattwerk

      Altkolorierter Kupferstich von Langlois nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34x25.5 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Mit dem beschreibenden Textblatt. Papierränder leicht gebräunt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 23.   Check availability:     Biblio     Link/Print  


        Rosa Alpina pendulina. Rosier des Alpes à fruits pendants." Darstellung eines Zweiges der Eschenrose Rosa Blanda Aiton mit Blüte, Knospen und Blattwerk, unten links zwei Hagebutten

      Altkolorierter Kupferstich von Bessin nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34.5x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Mit dem beschreibenden Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 24.   Check availability:     Biblio     Link/Print  


        Rosa Cinnamomea Maialis. Rosier de Mai." Darstellung eines Zweiges der gefüllten Mairose Rosa Majailis Herrm. "Foecundissima" mit Blüten, Knospen und Blattwerk

      Altkolorierter Kupferstich von Chapuy nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34.5x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Papierrand oben leicht gebräunt. Mit dem beschreibenden Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 25.   Check availability:     Biblio     Link/Print  


        Rosa Centifolia Caryophyllea. Rosier Oeuillet." Darstellung eines Zweiges der nelkenblütigen Zentifolien-Sorte Rosa Centifolia L. CV. mit Blüten, Knospen und Blattwerk

      Altkolorierter Kupferstich von Charlin nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34.5x26 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Papierränder leicht gebräunt. Mit dem beschreibenden Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 26.   Check availability:     Biblio     Link/Print  


        Rosa Lucida. Rosier Luisant." Darstellung eines Zweiges der Glanzrose Rosa Virginiana Herrm. mit Blüten, Knospe und Blattwerk, unten links eine Hagebutte

      Altkolorierter Kupferstich von Bessin nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Papierrand oben leicht gebräunt. Mit dem beschreibenden Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 27.   Check availability:     Biblio     Link/Print  


        Rosa Indica / Rosier des Indes [Monthly Rose]

      Paris: 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Chapuy. Very good condition apart from some minor foxing in the image. 14 1/2 x 10 1/2 inches. More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty. Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full- time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes. Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Great Flower Books (1990), p 128; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Stafleu & Cowan TL2 8748.

      [Bookseller: Donald Heald Rare Books]
 28.   Check availability:     Biblio     Link/Print  


        Rosa Indica acuminata. Rosier des Indes à pétales pointus." Darstellung eines Zweiges der weiß blühenden Zwerg-Bengalrose Rosa Chinensis Jacq. Var. Minima Voss mit Blüten und Blattwerk

      Altkolorierter Kupferstich von Chapuy nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Mit dem beschreibendem Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
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        Rosa Leucantha. Rosier à fleurs blanches." Weiße Rose, Darstellung eines Zweiges der Flaumrose Otusifolia, wohl Rosa Dumetorum Thuill. "Obtusifolia" mit Blüten und Blattwerk

      Altkolorierter Kupferstich von Chapuy nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34x25.5 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Mit dem beschreibendem Textblatt - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 30.   Check availability:     Biblio     Link/Print  


        Rosa Rubiginosa flore semi-pleno / Rosier Rouille à fleurs semi-doubles [Semi-double Sweet Briar]

      Paris: Firmin Didot, 1817-1824. Stipple engraving printed in black, after Redouté, printed by Rémond. Very good condition apart from some overall light soiling. 14 x 10 5/8 inches. A rare uncoloured impression from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time. Pierre-Joseph Redouté, the most successful flower painter of all time, produced a work that was not only of great artistic merit, but also formed an invaluable scientific recordl. Redouté described and figured almost all the important roses known in his day, and included were many of the ancestors of today's roses. "The plates in 'Les Roses' have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone found in Redouté's original water-colours. During a trip to London, he met the renowned engraver Francesco Bartolozzi and learned that the most successful impressions of stipple engravings came from well-used plates. Redouté's printers therefore struck a limited number of black plates to take the edge off the plate before printing in colours. This print was printed in black on ochre-tinted paper. The ochre tint has subsequently been removed to reveal Redouté's full mastery of the stipple-engraving technique that this image so effortlessly demonstrates. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747

      [Bookseller: Donald Heald Rare Books]
 31.   Check availability:     Biblio     Link/Print  

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