johann wilhelm weinmann (273 résultats)

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Etat : New. SUPER FAST SHIPPING.

Hardcover. Etat : Very Good. No Jacket. 1st Edition. Please email for Photographs or further information. Very Good - Full calf rebacked with gilt tooled compartmentalized spine, ex libris label to pastedown, blue ink engraved frontis, double title page in Latin and German, red and black ink, pagination complete pp.448, no plates Please see photos as part of condition report 1742 1st Edition , PHYTANTHOZA ICONOGRAPHIA, SIVE CONSPECTUS VOL III By Johann Wilhelm Weinmann Johann Wilhelm Weinmann (1683 - 1741) was born in Gardelegen, Germany on March 13, 1683. He settled in Regensburg in 1710 as a pharmacist's assistant and in 1712 was able to purchase his own apothecary shop. He flourished in his business affairs and this success allowed him to indulge in his great love for botany. He established a botanical garden in Regensburg published a Catalogus Alphabetico ordine exhibens Pharmaca in 1723. In 1737-1745 Weinmann published Phytanthoza iconographia. His great work comprised eight folios with 1025 hand-colored engravings of several thousand plants. Among the artists employed to work on Phytanthoza was Georg Dionysius Ehret (1708-1770). Illustrated By: Format: Hardcover, Language: Latin/German Dust Jacket: No Jacket, Dust Jacket Condition: No Jacket Published By: Ratisbonae per Hieronymum Lenzium, Switzerland folio (fo 12 × 19 305 × 483),Pages 448 ISBN: The most influential botanical record of its time, an extremely valuable record of the plant kingdom as it was understood in the mid-eighteenth century. The plants are ordered alphabetically, as was done just preceding the introduction of Linnaeus' revolutionary system of classification. SKU: BTETM0002366 Approximate Package Dimensions H: 20, L: 60, W: 30 (Units: cm), W: 4Kg.

Hardcover. 1735-1745. Ränder minimal gebräunt, die Innenseite mit kleinem Ausriß im weißen Rand, unterhalb des Plattenrandes kleine Überklebung (Basters Kers. B.), Plattenrand unten in der Mitte ca. 5 cm eingerissen.

Prächtiger großformatiger, handkolorierter Kupferstich aus Weinmann's "Phytanthoza iconographia", einem der schönsten Blumen- und Pflanzenbücher des 18. Jahrhunderts. Die Kupferplatten wurden u.a. von Bartholomaeus Seuter, J. J. Haid, Johann Elias Ridinger nach Georg Dionysus Ehret, N. Asamin gestochen. -- Blatt-Maße: ca. 40 x 24,5 cm. -- gut erhalten. -- "The work may be called the first successful botanical book using color printed mezzotint" (Hunt 2, 494). || || This is an original old colored engraving from Weinmann's "Phytanthoza Iconographia", one of the most beautiful and important Baroque botanical books. It was also the first published work to include engravings by the greatest botanical artist of the eighteenth century - Georg Dionysus Ehret. Weinmann was an apothecary from Regensburg and his collection of plants was the basis of this comprehensive iconography of the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. The work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. -- in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! No copy! - No reprint! -- Lit.: Nissen, BBI 2126. Wir kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 1550.

Prächtiger großformatiger, handkolorierter Kupferstich aus Weinmann's "Phytanthoza iconographia", einem der schönsten Blumen- und Pflanzenbücher des 18. Jahrhunderts. Die Kupferplatten wurden u.a. von Bartholomaeus Seuter, J. J. Haid, Johann Elias Ridinger nach Georg Dionysus Ehret, N. Asamin gestochen. -- Blatt-Maße: ca. 38 x 23,5 cm. -- teils leicht fleckig, sonst gut erhalten. -- "The work may be called the first successful botanical book using color printed mezzotint" (Hunt 2, 494). || || This is an original old colored engraving from Weinmann's "Phytanthoza Iconographia", one of the most beautiful and important Baroque botanical books. It was also the first published work to include engravings by the greatest botanical artist of the eighteenth century - Georg Dionysus Ehret. Weinmann was an apothecary from Regensburg and his collection of plants was the basis of this comprehensive iconography of the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. The work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. -- partly slighlty stained, otherwise in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! No copy! - No reprint! -- Lit.: Nissen, BBI 2126. Wir kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 1550.

Prächtiger großformatiger, handkolorierter Kupferstich aus Weinmann's "Phytanthoza iconographia", einem der schönsten Blumen- und Pflanzenbücher des 18. Jahrhunderts. Die Kupferplatten wurden u.a. von Bartholomaeus Seuter, J. J. Haid, Johann Elias Ridinger nach Georg Dionysus Ehret, N. Asamin gestochen. -- Blatt-Maße: ca. 38 x 23,5 cm. -- gut erhalten. -- "The work may be called the first successful botanical book using color printed mezzotint" (Hunt 2, 494). || || This is an original old colored engraving from Weinmann's "Phytanthoza Iconographia", one of the most beautiful and important Baroque botanical books. It was also the first published work to include engravings by the greatest botanical artist of the eighteenth century - Georg Dionysus Ehret. Weinmann was an apothecary from Regensburg and his collection of plants was the basis of this comprehensive iconography of the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. The work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. -- in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! No copy! - No reprint! -- Lit.: Nissen, BBI 2126. Wir kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 1550.

Prächtiger großformatiger, handkolorierter Kupferstich aus Weinmann's "Phytanthoza iconographia", einem der schönsten Blumen- und Pflanzenbücher des 18. Jahrhunderts. Die Kupferplatten wurden u.a. von Bartholomaeus Seuter, J. J. Haid, Johann Elias Ridinger nach Georg Dionysus Ehret, N. Asamin gestochen. -- Blatt-Maße: ca. 38 x 23,5 cm. -- gut erhalten. -- "The work may be called the first successful botanical book using color printed mezzotint" (Hunt 2, 494). || || This is an original old colored engraving from Weinmann's "Phytanthoza Iconographia", one of the most beautiful and important Baroque botanical books. It was also the first published work to include engravings by the greatest botanical artist of the eighteenth century - Georg Dionysus Ehret. Weinmann was an apothecary from Regensburg and his collection of plants was the basis of this comprehensive iconography of the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. The work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. -- in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! No copy! - No reprint! -- Lit.: Nissen, BBI 2126. Wir kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 1550.

Prächtiger großformatiger, handkolorierter Kupferstich aus Weinmann's "Phytanthoza iconographia", einem der schönsten Blumen- und Pflanzenbücher des 18. Jahrhunderts. Die Kupferplatten wurden u.a. von Bartholomaeus Seuter, J. J. Haid, Johann Elias Ridinger nach Georg Dionysus Ehret, N. Asamin gestochen. -- Blatt-Maße: ca. 38 x 23,5 cm. -- "The work may be called the first successful botanical book using color printed mezzotint" (Hunt 2, 494). || || This is an original old colored engraving from Weinmann's "Phytanthoza Iconographia", one of the most beautiful and important Baroque botanical books. It was also the first published work to include engravings by the greatest botanical artist of the eighteenth century - Georg Dionysus Ehret. Weinmann was an apothecary from Regensburg and his collection of plants was the basis of this comprehensive iconography of the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. The work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! No copy! - No reprint! -- Lit.: Nissen, BBI 2126. Wir kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 1550.

Prächtiger großformatiger, handkolorierter Kupferstich aus Weinmann's "Phytanthoza iconographia", einem der schönsten Blumen- und Pflanzenbücher des 18. Jahrhunderts. Die Kupferplatten wurden u.a. von Bartholomaeus Seuter, J. J. Haid, Johann Elias Ridinger nach Georg Dionysus Ehret, N. Asamin gestochen. -- Blatt-Maße: ca. 38 x 23,5 cm. -- im Außenrand teils etwas fleckig, sonst gut erhalten. -- "The work may be called the first successful botanical book using color printed mezzotint" (Hunt 2, 494). || || This is an original old colored engraving from Weinmann's "Phytanthoza Iconographia", one of the most beautiful and important Baroque botanical books. It was also the first published work to include engravings by the greatest botanical artist of the eighteenth century - Georg Dionysus Ehret. Weinmann was an apothecary from Regensburg and his collection of plants was the basis of this comprehensive iconography of the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. The work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. -- somewhat stained on the outer margin, otherwise in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! No copy! - No reprint! -- Lit.: Nissen, BBI 2126. Wir kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 1550.

Blattformat ca. 38,4 x 24,4 cm. - In der Platte rechts unten Signatur S. Im Oberrand mit grööseren Feuchtigkeitsfleck. Außenrand etwas gebräut. Unter Passepartout montiert. Sprache: Deutsch Gewicht in Gramm: 2000.

Blattformat ca. 38,4 x 24,4 cm. - In der Platte rechts unten Signatur H. Außenrand etwas gebräut. Unter Passepartout montiert. Sprache: Deutsch Gewicht in Gramm: 2000.

Hardcover. 1735-1745. minimal stockfleckig, oben mit Spuren einer alten Montierung.

Hardcover. 1735-1745. Ränder minimal gebräunt, die Innenseite gerändert.

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In excellent condition. 320 by 210mm (12½ by 8¼ inches).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In excellent condition. 320 by 210mm (12½ by 8¼ inches).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).

Prächtiger großformatiger, handkolorierter Kupferstich aus Weinmann's "Phytanthoza iconographia", einem der schönsten Blumen- und Pflanzenbücher des 18. Jahrhunderts. Die Kupferplatten wurden u.a. von Bartholomaeus Seuter, J. J. Haid, Johann Elias Ridinger nach Georg Dionysus Ehret, N. Asamin gestochen. -- Blatt-Maße: ca. 38 x 23,5 cm. -- gut erhalten. -- "The work may be called the first successful botanical book using color printed mezzotint" (Hunt 2, 494). || || This is an original old colored engraving from Weinmann's "Phytanthoza Iconographia", one of the most beautiful and important Baroque botanical books. It was also the first published work to include engravings by the greatest botanical artist of the eighteenth century - Georg Dionysus Ehret. Weinmann was an apothecary from Regensburg and his collection of plants was the basis of this comprehensive iconography of the flowers, fruit and vegetables in cultivation in early-18th century Europe. Georg Dionysius Ehret's pivotal contribution to the work is nowhere acknowledged as the artist parted with Weinmann after producing 500 designs. The work was financed by Bartholomaeus Seuter, one of the engravers. The plates became an important source for copyists, appearing, for instance, in a number of Meissen designs. -- in good condition. || Dies ist ein Original! - Kein Nachdruck! - Keine Kopie! -- This is an original! No copy! - No reprint! -- Lit.: Nissen, BBI 2126. Wir kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Deutsch Gewicht in Gramm: 1550.

Leather. Etat : Fair. None (illustrateur). An extremely scarce eighteenth century index to Johann Wilhelm Weinmann's definitive botanical work, both in Latin and German. An extremely scarce eighteenth century index to Johann Wilhelm Weinmann's definitive botanical work. Indexing the 1737 edition ofPhytanthoza-Iconographiae, the work is written in both German and Latin, with the detail of the text reflecting the breadth and ambition of Weinmann's project. Contains a title page forthe languagesin typography befitting each. As this work is an index, there are none of Weinmann's illustrations present. Rebacked with cloth spine, with cardboards and remnants of the previous leather binding. The boards are heavily worn, with little of the original half-morocco binding left. There is additional chipping and wear to the extremities, the hinges are very tender, and there are several very loose end pages to the front and rear. Internally, the pages are largely firmly bound, although the binding is slightly tender in places. The pages have some age-toning throughout and are foxed and watermarked. Fair. book.

Hardcover. Etat : Very Good. First revised edition. Four volumes. Augsburg: Johann Elias Haid, 1787. Folio (395mm x 258mm). With 4 engraved title-pages heightened in red and gold, and 1,025 hand-colored engraved plates, of which 14 are double-page, after Ehret, Ridinger, Seutter and J.J. Haid. Bound in contemporary calf. On the spine, five raised bands. Rubbed and chipped at the extremities. One of the lettering-pieces to vol. IV perished. Foxed generally. Marginal worming to the first 50 plates of vol. IV. First revised edition. "Printed in color from the original mezzotint plates (finished by hand) from Weinmann's influential masterwork Phytanthoza iconographia (1737-1745) issued without the descriptive text. Rare and valuable record of the plants cultivated in the early 18th century, based on Weinmann's own collection. The high artistic standard of its plates, became an important source for copyists, and appeared in designs for Meissen porcelain. Many are "of particular interest on account of the colour printing, especially the plates of Aloes and Cactus depicted in pots of different designs, and the folding plates of gourds" (Dunthorne 327, first edition); Nissen 2126 (notes); Pritzel 10139; Stafleu/Cowan 17050." A FULL DESCRIPTION AND SUITE OF PHOTOS WILL BE PRODUCED UPON REQUEST.

Hardcover. Etat : Very good. First. First Dutch edition. Nine volumes (four text, five plates). Amsterdam: Zacharias Romberg, 1736-1739-1748. Folio (15 ¾" x 10"). Title-pages printed in red and black. Mezzotint allegorical frontispiece of Flora by J.J. Haid after Baumgartner in volume one, portraits of Weinmann and Bieler by Haid after M.C. Hirschman in volumes one and III, all 3 portraits printed in blue, and 1025 mezzotinted and engraved plates printed in color and finished by hand by J.J. Haid, J.E. Ridinger, and B. Seuter (373 plates singed "S" for Seuter, and 273 signed "H" for Haid) after N. Asamin, G.D. Ehret, and others. Bound in contemporary half speckled calf, speckled paper boards. Extremities a little worn. Light marginal waterstain to plates 21-35, title-page of second plate volume loose waterstain from plates 146-234, 326-521, plate 201 browned, title-page to fourth plate volume restored, some color loss to plate 723, small marginal repair to plate 761. (Provenance: Charles Traylen, 1972, $6,1810.) A comprehensive and beautiful record of known 18th-century flowers, fruits, and vegetables. Financed by Weimann, director of the oldest pharmacy in Regensburg, who commissioned amongst other artists the now celebrated Georg Ehret. It was his first major commission, but he was not credited, and only received half of his promised wages, on the grounds that he had only supplied about half of the 1,000 images that Weinman was expecting of him. However, even at this early stage in his career, Ehret's style is easily identified, particularly in various aloes and cacti growing in distinctive pots and urns that is a feature of Ehret's work for his own Plantae et papiliones rariores (1748-1759). The Duidelyke Vertoning. was quite influential. Filippo Arena borrowed heavily from it for his La Natura, e coltura de' fiori (1767-1768), and the Dutch edition in particular was imported to Japan where it "gave rise to a major change in illustrated botanical literature. and led to the productions from 1830 onwards of the illustrated herbal "Honzo Zufu." by Iwasaki Kanen in ninety-six volumes" (Blunt pp. 155-156). Like his father before him Ehret trained as a gardener, initially working on estates of German nobility, and painting flowers only occasionally, another skill taught him by his father, who was a good draughtsman. Many Ehret watercolours were engraved in the works of Dr Christoph Joseph Trew, such as Hortus Nitidissimus (1750-86) and Plantae selectæ (1750-73), in which Trew named the genus Ehretia after him. "During 1734 Ehret travelled in Switzerland and France, working as a gardener and selling his paintings. While at the Jardin des Plantes, Paris, he learned to use body-colour on vellum, thereafter his preferred medium. In 1735 he travelled to England with letters of introduction to patrons including Sir Hans Sloane and Philip Miller, curator of the Chelsea Physic Garden. In the spring of 1736 Ehret spent three months in the Netherlands. At the garden of rare plants of George Clifford, banker and director of the Dutch East India Company, he met the great Swedish naturalist Carl Linnaeus, who was then formulating his new classification based on plant sexual organs. Ehret painted a Tabella (1736), illustrating the system, and sold engravings of it to botanists in Holland. Some of his paintings of the exotics were engraved in Linnaeus's Hortus Cliffortianus (1737). Arnold Arboretum p. 738 (with an additional French title-page in vol. I); Brunet II, 704 (sub Dietrichs); Dunthorne 327; Great Flower Books p. 80; Johnston Cleveland 388; Nissen BBI 2126; Pritzel 10140; Stafleu and Cowan 17,050.

Hardcover. Etat : Very Good. 1st Edition. Together 11 volumes. Folio (15 2/8 x 9 6/8 inches). Regensburg text: 4 volumes. Latin and German title-pages in all volumes but the first, printed in red and black. Mezzotint allegorical frontispiece of Flora by J.J. Haid after Baumgartner in volume one, portraits of Weinmann and Bieler by Haid after M.C. Hirschman in volumes one and III, all 3 portraits printed in blue (lacking German title-page and leaf a1 in volume one, minor adhesion of allegorical text to title-page with minor loss to plate, some minor waterstaining in volumes one and IV, some light browning). Contemporary mottled panelled calf, gilt, spines decorated in seven panels with six raised bands, morocco lettering pieces in two, the others decorated with small gilt tools (a bit marked). Atlas: 4 volumes. Vignette title-pages printed in red and black (title-page volume IV creased). 1025 fine engraved plates printed in colours and finished by hand by J.J. Haid, J.E. Ridinger, and B. Seuter (373 plates singed "S" for Seuter, and 273 signed "H" for Haid) after N. Asamin, G.D. Ehret, and others, captions in Latin and German (marginal pink stain affecting first 20 plates, a few plates a bit spotted, minor adhesion of 3 plates to opposite leaf with minor losses to plates 778,892 and 1014). Near contemporary crushed olive morocco decorated uniformly with Regensburg volumes (spines lightly faded to brown, a bit marked). Dutch text: 4 volumes. Vignette title-pages printed in red and black (last three gatherings in volume one browned. Contemporary mottled panelled calf uniformly bound with the Regensburg text volumes (upper joint of volume IV starting, a bit marked). Provenance: The Botanical Library of Michale Kuse, his sale Sotheby's New York, June 20th 2003, lot 28. A COMPLETE SET OF THE FIRST DUTCH EDITION, TEXT AND ATLAS, WITH THE FIRST EDITION OF THE GERMAN TEXT. A comprehensive and beautiful record of known 18th-century flowers, fruits, and vegetables. Financed by Weimann, director of the oldest pharmacy in Regensburg, who commissioned amongst other artists the now celebrated Georg Ehret. It was his first major commission, but he was not credited, and only received half of his promised wages, on the grounds that he had only supplied about half of the 1,000 that Weinman was expecting of him. However, even at this early stage in his career, Ehret's style is easily identified, particularly in various aloes and cacti growing in distinctive pots and urns that is a feature of Ehret's work for his own "Plantae et papiliones rariores" (1748-1759). The "Phytanthoza ." was a very important influential book. Filippo Arena borrowed heavily from it for his "La Natura, e coltura de' fiori" (1767-1768), and the dutch edition was imported to Japan where it "gave rise to a major change in illustrated botanical literature. and led to the productions from 1830 onwards of the illustrated herbal "Honzo Zufu." by Iwasaki Kanen in ninety-six volumes" (Blunt pages 155-156). Like his father before him Ehret trained as a gardener, initially working on estates of German nobility, and painting flowers only occasionally, another skill taught him by his father, who was a good draughtsman. Ehret's "first major sale of flower paintings came through Dr Christoph Joseph Trew, eminent physician and botanist of Nuremberg, who recognized his exceptional talent and became both patron and lifelong friend. Ehret sent him large batches of watercolours on the fine-quality paper Trew provided. In 1733 Trew taught Ehret the botanical importance of floral sexual organs and advised that he should show them in detail in his paintings. Many Ehret watercolours were engraved in Trew's works, such as 'Hortus Nitidissimus' (1750-86) and 'Plantae selecta'e (1750-73), in part two of which (1751) Trew named the genus Ehretia after him. "During 1734 Ehret travelled in Switzerland and France, working as a gardener and selling his paintings. While at the Jardin des Plantes, Paris, he learned to use body-colour on vellum, t. Signed by Author(s).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In excellent condition. 320 by 210mm (12½ by 8¼ inches).

No binding. Original copper engraving, printed in colours and finished by hand. Published 1734-45 in Regensburg in the great botanical work "Phytanthoza Iconographia". This was for the first time, that this technique of colour-printing was used highly sucessful used on the continent in a botanical series. Originally this technique was founded by Taylor in Great Britain. Among the artists in this enormous botanical series were Ehret, Haid and Seutter from Augsburg working. On all plates we find their individual initials in the lower right corner. In very good to excellent condition. 320 by 210mm (12½ by 8¼ inches). 320 by 210mm (12½ by 8¼ inches).