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Fragments on the Theory and Practice of Landscape Gardening
1816. REPTON, Humphry. Fragments on the Theory and Practice of Landscape Gardening. Including Some Remarks on Grecian and Gothic Architecture... the whole tending to establish fixed principles in the respective arts. xii, 238, [2] pp. Illustrated with 42 aquatint plates of which 22 are hand-coloured, including ten with overslips and three double-page; 13 uncoloured, including three with overslips; 7 tinted, including one with an overslip; 1 wood-engraved and letterpress plan; 9 aquatint head- and tail-piece vignettes, including two with overslips; and numerous wood-engraved illustrations. 4to., 337 x 270 mm, bound in contemporary English half calf over marbled boards, neatly rebacked witht the original spine laid down. London: T. Bensley for J. Taylor, 1816. |~||~||~||~| First Edition. Repton's final statement on the subject, written in collaboration with his son, John Adey Repton (who was by then an established landscape architect). This work complimented Repton's Observations on the Theory and Practice of Landscape Gardening (1803) which also contains movable overslips that fold back to show Repton's proposed alterations. Because he was anxious for his employers to see what he proposed to do, Repton devised an ingenious system of sliding panels. Each plate shows a park or garden in its original condition before Repton's proposed improvements; an overlay lifts or slides back to reveal the altered vista. In this work, Repton discusses the relationship between landscape gardening and architecture in chapters on colour, interiors, prospects, water, fences and other subjects. The author sees himself as mediator of the whole picturesque controversy; interestingly, the author bestows favourable attention on Price. Among the estates described and illustrated are Uppark, Longleat, Woburn, Ashridge and Harleston Park (thought to be the inspiration for Austen's Mansfield Park). The work concludes with a discussion of Repton's own house at Harestreet, which, with its suburban flower garden, probably had as much influence upon English landscape design as his more spectacular schemes. Repton calls it "the most interesting subject I have ever known; it is the view from the humble cottage to which for more than thirty years I have anxiously retreated from the pomp of palaces, the elegancies of fashion, or the allure of dissipation." Two tears on the the front fly leaf and first blank neatly repaired, overall a fine clean copy. PROVENANCE: Milton Peterborough with his bookplate on the front paste-down. C.F. J. Beausire with his armorial bookplate on the front paste-down. Abbey, Scenery 391. Tooley 398. Hardie, pp. 129. Prideaux, p. 349. Plesch 380.
      [Bookseller: Ursus Rare Books]
Last Found On: 2015-05-24           Check availability:      Biblio    

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