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Edité par Paris: Firmin Didot, 1817-1824., 1824
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Livre
Hardcover. Etat : Very Good. Folio (21 x 14 inches). Half-titles, engraved portrait of Redouté by C. S. Pradier after Gerard printed in black on white and on ochre paper, stippled engraved wreath and 169 stipple-engraved plates after Redouté by Bessa, Bessin, Chapuy, Langlois, Victor and others, the plates in 2 states, printed in colors and finished by hand, and in black on ochre paper (some light mostly marginal spotting). Contemporary French quarter green morocco gilt, green mottled boards by Tessier (extremities a bit scuffed, spine of volume one restored at the head and foot). ONE OF A VERY FEW LARGE-PAPER COPIES WITH THE PLATES IN TWO STATES First edition, bound from the original 30 parts between March 1817 and March 1824, each part containing six plates (except no. 10, which had one plate, and no. 30, which had none). "Les Roses" was issued in four formats: a large-paper folio with colored plates; a "special issue" of each work with the extra suite of black impressions on ochre paper was apparently bound in very small quantities (Hunt, "Printmaking") (as here); folio with colored plates; and folio with the plates in two states. Commemorating the rose garden of the Empress Josephine, many of the roses having been painted in her garden at Malmaison. The subtle gradations of tone found in Redouté's original watercolors are shown to perfection by the technique of the stipple engraving used to produce these exquisite plates. Redoute met the renowned and talented engraver Francesco Bartolozzi, on a trip to London and learned that the most successful impressions of stipple engravings came from well-used plates. A number of initial black plates were struck to take the edge off the plate before printing in colors began. Redouté's printers struck black impressions-always on paper with a distinct ochre tint-from the plates for both "Les Roses" and "Les Liliacées". The botanical descriptions were by Claude Antoine Thory (1759-1827), a civil servant by profession, and an enthusiastic gardener who cultivated his own collection of roses. He and Redouté regularly traded cuttings and seeds. The roses depicted in the work included examples from Thory's own collection as well as from Malmaison. "Redouté and Thory knew, described, and figured almost all the important roses in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, and botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared" [Sir George Taylor quoting Gisèle de la Roche in the Schutter facsimile, (Antwerp, 1974-78)]. Dunthorne 232; "Great Flower Books" p. 71; Hunt "Redoutéana" 19; Hunt "Printmaking in the Service of Botany" 25; Johnston Cleveland "Herbal" 807; Nisen BBI 1599; Pritzel 7455; Ray "French" 89; Stafleu TL2 9748. L65V2B.
Edité par Didot jeune, Paris, 1802
Vendeur : Arader Books, New York, NY, Etats-Unis
Edition originale
Hardcover. Etat : Very good. First. First edition, first state. Eight volumes. Paris: printed for the author by Imprimerie de Didot jeune, 1802 ("An X.")-1816. Folio (21 1/8" x 14", 538mm x 355mm). [Full collation available.] With an etched portrait frontispiece and 486 plates: 484 polychrome stipple-engraved plates, 1 folding polychrome stipple-engraved plate (370-371) and 1 monochrome engraved plate (372). Bound in contemporary red straight-grained morocco (over an earlier, darker red morocco; rebacked). On the boards, a gilt roll border. On the spine, seven panels separated with triple gilt fillets. In the first, third, fifth, sixth and seventh panels, a gilt floral surrounded with gilt ornaments. Title gilt to the second panel. Number gilt to the fourth panel. Fore- and bottom edges of the text-block untrimmed. With tissue guards for each plate. Rebacked. A handful of leaves (text and plates) in various volumes loose and laid in. Upper front fore-corner of vol. III and upper rear fore-corner of vol. IV strongly bumped. Fore-edges of vol. VIII with a bump. General wear to the extremities. Mostly clean internally; voll. VI-VIII with some tanning to the preliminaries and final leaves (pronounced in vol. VII, else mild or moderate). Bookplate of "De crés" on the front paste-downs of voll. I-V. Pierre-Joseph Redouté (1759-1840) floated above the political changes in France. He went from the patronage of Marie Antoinette -- made desinatteur du Cabinet de la Reine in 1788 -- to the dedication in the first volume (marked "year 10" of the revolutionary calendar) to "Citoyen Chaptal," back to the patronage of the Empress Josephine and on through the Restoration; doubtless had he lived into the Second Republic he would have found great favor. He haunted the gardens first of the Petit Trianon and then superintended those at the chateau of Malmaison in Rueil (just south of Paris), which Josephine had bought. Provided with the raw materials by these extraordinary women, Redouté set about illustrating. The originals -- executed in watercolor on vellum, which Arader handled -- were translated into multi-color stipple-engraving; Redouté is said to have introduced the technique to France. Borrowed from Bartolozzi, it allowed faithful reproduction of color, rather than depending on the vagaries of individual colorists, making the book not only beautiful but reliable. The technique is intensely laborious, and only about two hundred sets were made, with additional large-paper copies finished by Redouté himself. The title is somewhat misleading, since the work includes flowers from other families (irises, orchids, etc.), but Redoutés curiosity and ambition can be excused. The work stretched 14 years, with 80 fascicles of 6 plates apiece (the 80th having 12). Plate 95 (Tradescantia virginica) is here present in its first state (titled Commelina erecta) and Narcissus laetus is present in two states: Langlois's and Bessin's. The bookplate of "De crés" appears contemporary, but no information has been found. The presence of those plates in voll. I-V and the diminished condition of voll. VI-VIII, as well as the rebinding of morocco over morocco suggests a complex history of ownership. Dunthorne 231, Nissen BBI 1597, Stafleu-Cowan 8747.
Edité par Impremerie de Didot jeune, Paris, 1802
Vendeur : Arader Books, New York, NY, Etats-Unis
Edition originale
Hardcover. First. WITH THE PLATES BOUND ALPHABETICALLY BY GENUS IN IMITATION OF THE RARE LARGE PAPER ISSUE. Eight volumes. Paris: printed for the author by the Imprimerie de Didot jeune, 1802-1816. Broadsheet folio (20 3/8" x 13 9/16", 518mm x 346mm). [Full collation available.] Collated complete (save the title-page of vol. II and the half-title of vol. III) against Stafleu-Cowan and MacPhail in Redoutéana with 488 plates in toto, of which the 487 "botanical portraits" are stipple-engraved and colored à la poupée and finished by hand (except for pl. 372, which is black as issued). Bound in contemporary speckled and marbled calf. On the boards, a blind roll border surrounding a triple roll border gilt with corner-fleurons gilt. On the spine, six raised bands. Gilt florals in the panels. Title and author gilt to red sheep in the second panel, number gilt to red sheep in the third. Gilt roll to the edges of the boards. All edges of the text-block speckled blue. Bumps to the fore-corners throughout, with a little scuffing generally. Internally, some passages of worming (mostly at and adjacent to the boards), essentially all marginal. Scattered tanning, generally mild but on on a handful of plates moderate. Corrigenda and tables (in vol. VIII) cockled and moderately tanned. A little mild damp-staining to the fore-edge of a handful of plates in vol. V. Lacking the title-pages of voll. II and III; the dedication, usually bound in vol. I, is here bound in vol. II. Utterly unsophisticated and intact, with tissue guards at each plate (occasionally wrinkled or torn). Pierre-Joseph Redouté (1759-1840) floated above the political changes in France. He went from the patronage of Marie Antoinette -- made desinatteur du Cabinet de la Reine in 1788 -- to the dedication in the first volume (marked "year 10" of the revolutionary calendar) to "Citoyen Chaptal," back to the patronage of the Empress Josephine and on through the Restoration; doubtless had he lived into the Second Republic he would have found great favor. He haunted the gardens first of the Petit Trianon and then superintended those at the chateau of Malmaison, which Josephine had bought. Provided with the raw materials by these extraordinary women, Redouté set about illustrating. The title is somewhat misleading, since the work includes flowers from other families (irises, orchids, etc.), but Redouté's curiosity and ambition can be excused. The work stretched 14 years, with 80 livraisons (fascicles) of 6 plates apiece (the 80th having 12). The originals -- executed in watercolor on vellum, which Arader handled -- were translated into multi-color stipple-engraving; Redouté is said to have introduced the technique to France. Borrowed from Bartolozzi, it allowed faithful reproduction of color, avoiding the vagaries of individual colorists, making the book not only beautiful but reliable. The technique is laborious, and only about two hundred sets were made. Beginning in 1807 there was a parallel issue of the work issued on large paper; Redouté noted that only 18 examples were made up. This issue, which was said to have been colored by Redouté himself, was eventually bound alphabetically by Linnaeus' genera. The owner of the present set, who has left not traces of his identity, must have been aware of this useful arrangement and, not having one of the vanishingly rare large-paper sets, had his set bound aspirationally to match. Hunt, Redoutéana 10; Nissen BBI 1597; Stafleu-Cowan 8747.
Edité par Paris: Firmin Didot, 1817-1824., 1824
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
3 volumes. Folio (14 x 10 inches). Engraved portrait of Redouté by C.S. Pradier after Gerard, floral wreath and 169 stipple-engraved plates printed in colours and finished by hand, by Langlois, Chapuy and others after Redouté, printed by Rémond (occasional spotting throughout). Contemporary rose morocco gilt, gilt spines with repeat pattern of volutes, foliate and dotted tools, marbled endpapers, gilt edges (spines slightly faded to brown, and a bit worn at the extremities, front hinge of volume two weak). Provenance: Foljambe Collection removed from Osberton Hall, their sale Christies April 30 2008, lot 41. First edition of 'JOSEPHINE'S ROSES'. 'The technical execution of its production was. near perfect. The artistic quality of the plates is high, and there is no reason to mark it any lower than one would Les Liliacées and the Jardin de la Malmaison' (Hunt Redoutéana p.26). "Les Roses" was issued in four formats: a large-paper folio with colored plates; a "special issue" of each work with the extra suite of black impressions on ochre paper was apparently bound in very small quantities (Hunt, "Printmaking"); folio with colored plates; and folio with the plates in two states. Commemorating the rose garden of the Empress Josephine, many of the roses having been painted in her garden at Malmaison. The subtle gradations of tone found in Redouté's original watercolors are shown to perfection by the technique of the stipple engraving used to produce these exquisite plates. Redoute met the renowned and talented engraver Francesco Bartolozzi, on a trip to London and learned that the most successful impressions of stipple engravings came from well-used plates. A number of initial black plates were struck to take the edge off the plate before printing in colors began. Redouté's printers struck black impressions-always on paper with a distinct ochre tint-from the plates for both "Les Roses" and "Les Liliacées". The botanical descriptions were by Claude Antoine Thory (1759-1827). Lawalrée describes the text as being 'of outstanding importance to both botanists and horticulturalists'. Thory was an ardent botanist with his own collection of roses, who came to live at an estate neighbouring Redouté's soon after 1814. The roses they 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 day, and a number were dedicated to his friends and acquaintances, such as L'Héritier de Brutelle and Ventenat. He and Redouté regularly traded cuttings and seeds. "Redouté and Thory knew, described, and figured almost all the important roses in their day. Included were many of the key ancestors of our present-day roses. The plates in "Les Roses" have artistic value, and botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared" [Sir George Taylor quoting Gisèle de la Roche in the Schutter facsimile, (Antwerp, 1974-78)]. Nissen BBI 1599; Stafleu and Cowan 8748; Hunt Redouteana 19; Great Flower Books (1990) p.128; Dunthorne 232. Catalogued by Kate Hunter.
Edité par Paris: C.L.F. Pancoucke, [1833]., 1833
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Hardcover. Etat : Near Fine. Large 4to., (12 2/8 x 9 inches). Letterpress title-page, "Alphabetique et Explicative." at end. 144 stipple-engraved plates before numbers, by Langlois, Bessin, Chapuy, and Victor, after Redouté (some occasional minor spotting). 20th-century half green morocco gilt, all edges gilt (front free endpaper and first blank loose). Provenance: with the bookplate of the Library of the Massachusetts Horticultural Society Boston dated 1932 on the front paste-down. Later edition, originally published in parts between May 1827 and June 1833. Pierre-Joseph Redoute (1759-1840), often called "the Raphael of flowers," was born in the Belgian Ardennes - the son, grandson, great-grandson and brother of artists. From the beginning, Redoute's talents were recognized by distinguished men and women who took pleasure in forwarding his career. For the study of botany, his teacher was Heritier de Brutelle, one of the outstanding naturalists of his day. Gerard van Spaendonck, Flower Painter to the King, taught Redoute the technique of painting in watercolor on vellum. But by the master's own account, the pupil's work was finer. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of engraving a copper plate with a dense grid of dots which can be modulated to convey delicate gradations of color. Because the ink lies on the paper in miniscule dots, it does not obscure the "light" of the white paper beneath the color. After this complicated printing process was complete, the prints were then finished by hand in watercolor, so as to conform to the models Redoute provided. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Josephine's successor, the Empress Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archaeology. The "Choix des Plus Belles Fleurs" is one of Redoute's last works. The "choice" is personal, the favorite flowers and fruits of a master who had devoted a lifetime to the arc of botanical illustration. There are the spectacular blooms of formal gardening, but also many more modest blooms of wayside flowers. Although small in size, these prints have the peculiar virtue of concentration, by which we can savor the essence of each beautiful flower. Dunthorne 235; Great Flower Books page 129; Nissen BBI 1591; Stafleu & Cowan TL2 8750; cf. Hunt, Redouteana 21. Catalogued by Kate Hunter.
Edité par Paris: C.L.F. Panckoucke, 1827- [1833]., 1833
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
Large 4to., (12 4/8 x 9 2/8 inches). Letterpress title-page, 2-page "advertisement", "Table Alphabétique et Explicative des plantes figurées dans cet ouvrage (9 leaves, paginated [1]-17, verso of 9th leaf blank), final blank leaf. 144 fine stipple-engraved plates BEFORE NUMBERS, printed in colors and finished by hand, by Langlois, Bessin, Chapuy, and Victor, after Redouté (some occasional light browning, one or two insignificant spots). Contemporary French half maroon morocco gilt, marbled boards (extremities a bit scuffed and bumped). First edition, preferred issue with the plates before numbers, originally published in parts between May 1827 and June 1833. Also published in a very limited large paper edition, Hunt reports five copies only, but there were probably more. Unlike later editions this first edition has no sectional titles, and in this copy the plates are bound according to Guillemin's strict "Table Alphabetique". The "Choix", for this Redoute's last great and extremely popular work, is personal: "Éclairé par l'expérience, encouragé par les souffrages les plus flatteurs des naturalistes et des peintres de mon pays et des contrées les plus éloignées; c'est en me livrant aux travaux botaniques les plus étendus, c'est en étudiant sans cesse la nature dans la constance et dans la variété des formes et de ses couleurs, que je crois être parvenu à réussir sous le triple rapport d'exactitude, de la composition et du coloris, dont la réunion peut seule porter à perfection l'iconogrpahie végétale" - "Enlightened by experience and encouraged by the extremely flattering pleas of naturalists and painters from my own country as well as from most distant realms; it is by devoting myself to extensive botanical study, by examining nature unremittingly, observing both its constancy and variety of shapes and colours, that I believe finally to have succeeded, by the triple means of exactitude, composition and colouring, the union of which only, may bring to perfection the iconography of plants" (Redouté, "Preface"). Pierre-Joseph Redoute (1759-1840), often called "the Raphael of flowers," was born in the Belgian Ardennes - the son, grandson, great-grandson and brother of artists. From the beginning, Redoute's talents were recognized by distinguished men and women who took pleasure in forwarding his career. For the study of botany, his teacher was Heritier de Brutelle, one of the outstanding naturalists of his day. Gerard van Spaendonck, Flower Painter to the King, taught Redoute the technique of painting in watercolor on vellum. But by the master's own account, the pupil's work was finer. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of engraving a copper plate with a dense grid of dots which can be modulated to convey delicate gradations of color. Because the ink lies on the paper in miniscule dots, it does not obscure the "light" of the white paper beneath the color. After this complicated printing process was complete, the prints were then finished by hand in watercolor, so as to conform to the models Redoute provided. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Josephine's successor, the Empress Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archaeology. The "Choix des Plus Belles Fleurs" is one of Redoute's last works. The "choice" is personal, the favorite flowers and fruits of a master who had devoted a lifetime to the arc of botanical illustration. There are the spectacular blooms of formal gardening, but also many more modest blooms of wayside flowers. Although small in size, these prints have the peculiar virtue of concentration, by which we can savor the essence of each beautiful flower. Dunthorne 235; "Great Flower Books" p.129; cf. Hunt "Redout.
Edité par De l'Imprimerie de Crapelet et se trouve Chez L'Au
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
"2 volumes bound in one, folio (20 3/4 x 13 3/4 in.; 52.7 x 34.9 cm). Half-title, title-page, dedication to the Empress Joséphine, 120 fine stipple-engraved plates after Pierre-Joseph Redouté printed in color and finished by hand, by L.J. Allais, J. B. Dien, P. F. Legrand and many others; without half-title and title in volume 2 as usual when bound as one volume, index leaf, and errata leaf not present, small, pale blue MHS ink stamp discreetly stamped in lower right corner of each plate not affecting image, occasional minor spotting and negligible soiling chiefly to top margins and fore-edges, most plate marks and numbers typically shaved by binder, tiny nick to plate 111. A FINE, BRIGHT COPY. Modern brown calf gilt inlaid with center panels of 19th-century calf gilt covers, smooth spine filleted gilt with two black morocco lettering pieces, modern marbled endpapers, inlaid gilt dentelles, edges gilt. FIRST EDITION OF "THE GREAT OPUS OF REDOUTÉ . AMONG THE MOST IMPORTANT MONUMENTS OF BOTANICAL ILLUSTRATION EVER TO BE PUBLISHED" (Stafleu in Hunt/Redoutéana). Stafleu further writes that "This series of one hundred and twenty colored plates, plus the series of over five hundred plates in his "Les liliacées" constitute the highest peak of Redouté's artistic and botanical achievement . They have well-proportioned full-page illustrations which suit the size of the page: the lay-out and relative proportions of paper and drawing are in perfect balance. The execution of the presswork and of the hand retouching . is superb . "Les liliacées" . surpasses in size but only equals in beauty of the "Jardin de la Malmaison." The work was originally issued in 20 installments between April 1803 and November 1805. The Empress Joséphine's most important and enduring legacy was the creation of the gardens at the Château de Malmaison, just west of Paris-which she purchased in 1798 and named after her father's plantation in St. Lucia-and in the commission of several books dealing with its botanical treasures. Enormous sums were spent on expanding the estate and eventually the gardens and park comprised 726 hectares (or nearly 1,800 acres or 2.8 square miles). The gardens were designed in the style of a "jardin paysager," which was much in vogue at the beginning of the nineteenth century. She employed distinguished botanists and horticulturists that included Thomas Blaikie and André Dupont, both horticultural experts,the Scottish gardener Alexander Howatson, and the French botanist Jacques Philippe Martin Cels. With their expert assistance and Joséphine's connoisseurship, "[t]he abundance of rare plants and their careful selection transformed Malmaison into a horticultural enclave in an otherwise French monoculture at the beginning of the nineteenth century. At its peak, Josephine's garden included more than two hundred and fifty varieties of plants. She was constantly in touch with the great plant collectors and nurserymen of her time; and even corresponded and traded with the enemy She even shared the costs of a botanical collecting voyage to the Cape of Good Hope with the firm of Lee & Kennedy of Hammersmith" (Griesinger). To document her important plant collection, Joséphine commissioned several books among which was "Jardin de la Malmaison," with text by the eminent botanist E.P. Ventenat and 120 engraved plates after Redouté , which were executed by a legion of fifteen engravers. In his dedication, Ventenat praises the illustrated specimens as a conjunction of "the rarest plants of the French soil [and] the sweetest souvenir of the conquests of your illustrious consort." Upon Joséphine's premature death in 1814, the house and gardens were sold by the children of her first marriage in order to acquit the enormous debt she had amassed. "Today the park is reduced to a one-hundredth of its former size The chateau and a small park surrounding it are all that is left" (Griesinger). 6.5V.2C. REFERENCES: Dunthorne 255; Great Flowe".
Edité par Paris: Ernest Panckoucke, [ca 1833]., 1833
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Folio. (12 6/8 x 9 2/8 inches). Letterpress title-page, Introduction, 16-page "Table Alphabetique et Explicative". 144 stipple-engraved plates including 69 BEFORE NUMBERS, printed in colors and finished by hand, by Langlois, Bessin, Chapuy, and Victor, after Redouté (plate 98 "Gentiane" frayed and lightly soiled at the margins, majority of plates browned or unevenly browned, some staining and occasionally heavy spotting). 20th-century half green morocco gilt by Bumpus (extremities scuffed). Provenance: Ink stamp of Bolton Public Libraries on the front paste-down and verso of the title-page. Later folio edition. "Among the most beautiful of all fruit prints. Plates of greengages, plums, peaches, ladyfinger grapes, raspberries, strawberries, apples, pears and apricots are portrayed so perfectly in the delicacy of the stipple modeling that an impression of a third dimension is created" (Dunthorne) The "Choix", for this Redoute's last great and extremely popular work, is personal: "Éclairé par l'expérience, encouragé par les souffrages les plus flatteurs des naturalistes et des peintres de mon pays et des contrées les plus éloignées; c'est en me livrant aux travaux botaniques les plus étendus, c'est en étudiant sans cesse la nature dans la constance et dans la variété des formes et de ses couleurs, que je crois être parvenu à réussir sous le triple rapport d'exactitude, de la composition et du coloris, dont la réunion peut seule porter à perfection l'iconogrpahie végétale" - "Enlightened by experience and encouraged by the extremely flattering pleas of naturalists and painters from my own country as well as from most distant realms; it is by devoting myself to extensive botanical study, by examining nature unremittingly, observing both its constancy and variety of shapes and colours, that I believe finally to have succeeded, by the triple means of exactitude, composition and colouring, the union of which only, may bring to perfection the iconography of plants" (Redouté, "Preface"). Pierre-Joseph Redoute (1759-1840), often called "the Raphael of flowers," was born in the Belgian Ardennes - the son, grandson, great-grandson and brother of artists. From the beginning, Redoute's talents were recognized by distinguished men and women who took pleasure in forwarding his career. For the study of botany, his teacher was Heritier de Brutelle, one of the outstanding naturalists of his day. Gerard van Spaendonck, Flower Painter to the King, taught Redoute the technique of painting in watercolor on vellum. But by the master's own account, the pupil's work was finer. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of engraving a copper plate with a dense grid of dots which can be modulated to convey delicate gradations of color. Because the ink lies on the paper in miniscule dots, it does not obscure the "light" of the white paper beneath the color. After this complicated printing process was complete, the prints were then finished by hand in watercolor, so as to conform to the models Redoute provided. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Josephine's successor, the Empress Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archaeology. The "Choix des Plus Belles Fleurs" is one of Redoute's last works. The "choice" is personal, the favorite flowers and fruits of a master who had devoted a lifetime to the arc of botanical illustration. There are the spectacular blooms of formal gardening, but also many more modest blooms of wayside flowers. Although small in size, these prints have the peculiar virtue of concentration, by which we can savor the essence of each beautiful flower. Dunthorne 235; Great Flower Books page 129; Nissen BBI 1591; Stafleu & Cowan TL2 8750; cf. Hun.
Edité par c., 1828
Vendeur : Shapero Rare Books, London, Royaume-Uni
Art / Affiche / Gravure Signé
Watercolour over traces of black chalk on vellum, within gold framing lines; signed in pen and brown ink, lower left: P. J. Redouté.; 385 x 270 mm. (15 1/4 x 10 5/8 in). a beautiful example of the work of 'the Raphael of flowers', the most celebrated botanical artist of his day; with a fine princely provenance. Redoute's patrons included two Empresses and two Queens, and his prodigious talents placed him at the centre of French court life, both before and after the Revolution. He was appointed drawing master to Marie Antoinette, yet despite his connections to the Royal family he survived the Terror and went on to become the court and flower painter to Empress Joséphine. It was because of her patronage that Redouté undertook Les Liliacées, which together with Les Roses, constitute the artist's greatest works. Although Joséphine had died three years before the publication of Les Roses, it was the unequalled collection of roses on her estate at Malmaison that provided the artist with his inspiration. Exhibited: Paris, Musée de la Vie Romantique, Jardins romantiques français, du jardins des Lumières au parc romantique 1770 - 1840, 2011, no. 78; Haarlem, Teylers Museum, Redoute's Roses, 2013, pp. 135 and 161, under Les Roses.
Edité par Paris: Philippe-Dionysius Pierres, 1784-1785 [-91], 1785
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
Six parts in one volume, folio (20 1/4 x 13 1/4 in.; 51.3 x 33.7 cm). Letterpress title and 6 section titles, 91 engraved plates (2 folding) by Juillet, Milsan, Hubert, Maleuvre and others after Pierre-Joseph Redouté (54) and others, plates numbered 1 to 84 with 7 bis plates. CONDITION/BINDING: Mostly marginal dampstaining to top of plates, a few leaves with light spotting. Nineteenth-century half brown morocco; rebacked to style. (65V2A) FIRST EDITION OF L'HERITIER'S FIRST BOTANICAL PUBLICATION WITH ENGRAVINGS: "ONE OF THE MORE DELIGHTFUL FLOWER BOOKS OF THE EIGHTEENTH CENTURY. This book is splendid in its spacious descriptions, its charming exotic plates, its implications for taxonomic history; and fascinating as an imposing piece of eighteenth-century bookmaking" (Hunt). The six fascicles were issued with pagination but leaves unsigned. Of the 91 plates, showing such extraordinary fidelity to detail, 54 were contributed by Redouté, 25 by Fréret, 4 by Fossier, while the remainder are after Prévost, Jossignoy, Aubriet, Bruguihre, and Sowerby. Although he never completed the work for which at least 120 plates were projected, L'Héritier's main purpose was "to describe, in most cases portray, and classify according to the Linnean system plants that were either new or had gone largely unnoticed." A jurist and amateur botanist, he allowed Redouté access to his magnificent library, and it is from L'Héritier, as Johnston says, that Redouté "learned the finer points of scientific botanic plate illustration." This copy collates as the Hunt copy with the following exceptions: plate 20 is captioned "Urtica arborea" rather than "Parietaria arborea," plate 45 is after Redouté rather than Fréret, and plates 63, 73, and 74 have slight variations in spelling (63: "arborea rather than "arboretum," and 73-74: "Stuartia" rather than "Stewartia." PROVENANCE: O Mundo do Libro (bookseller's ticket on upper pastedown); Christie's New York, 4 December 2018, lot 29. REFERENCES: Brunet III:1043; G. Bucheim, "A Bibliographical Account of L'Héritier's 'Stirpes novae' " in Huntia, vol. 2 (15 October 1965) 29-58; Cleveland Collections 555; Dunthorne 246; Great Flower Books, p.64; Hunt 673; Nissen BBI 1190; Pritzel 5268; Redouté 1; Stafleu & Cowan TL2 4484.
Couverture rigide. Etat : Très bon. Paris, P. Dufart, 1828-1829.3 tomes en 3 volumes grand in-8. Un frontispice gravé colorié à la main et 182 gravures à pleine page. Demi-veau bleu, dos lisses ornés en long de fers rocaille dorés, tranches mouchetées. Reliure de l'époque. 220 x 154 mm. --- Édition en partie originale des Roses de Redouté, recherchée puisque la plus complète. C'est l'une des ?uvres majeures du célèbre Redouté, surnommé le "Raphaël des fleurs", par ses contemporains. Nissen 1599. Great Flower books, 71. Stafleu, 1044. Elle est illustrée de 182 planches à pleine page (hauteur 220 mm), dessinées par P.J. Redouté, imprimées en couleurs puis rehaussées à l'aquarelle à l'époque " sous les yeux" de celui-ci. "C'est la plus complète des éditions in-8. Elle est ornée de 2 portraits et de 181 planches dont 21 paraissent pour la première fois. Elle contient une nouvelle classification méthodique des roses par C.E. Thory". Issu d'une famille d'artistes Pierre-Joseph Redouté dut à un voyage en Hollande de connaître les productions de l'excellent peintre de fleurs Van Huysum. Laissant libre cours à son inclination naturelle Redouté exécuta de petites aquarelles "qui manifestaient une science anatomique de la fleur et de la plante inconnue jusqu'à lui en même temps qu'une richesse d'effets, une fraîcheur de coloris qui laissaient bien loin tous les modèles". Redouté devint le professeur particulier de la reine Marie-Antoinette. A chacune des leçons royales, les plus belles fleurs des serres de Versailles étaient disposées dans des vases du Japon et de Sèvres avant d'être merveilleusement aquarellées sous les yeux de la Reine par le peintre. Professeur de Joséphine puis de Marie-Louis, il enseigna aussi son art à la duchesse de Berry, à la reine Marie-Amélie et à Madame Adélaïde. En 1822, louis XVIII nomma Redouté "professeur d'iconographie végétale au Jardin du Roi". En 182 merveilleuses planches au trait à la fois précis et aérien /// Paris, P. Dufart, 1828-1829.3 parts in 3 large 8vo volumes [220 x 154 mm]. One engraved hand-colored frontispiece and 182 full-page engravings. Blue half-calf, flat spines decorated lengthwise with gilt rocaille tools, mottled edges. Contemporary binding. --- Enlarged edition of Redoute's Roses, a sought-after one since it is the most complete. This is one of the main works by the famous Redouté, nicknamed the "Raphael of flowers", by his contemporaries. Nissen 1599. Great Flower books, 71. Stafleu, 1044. It is illustrated with 182 full-page plates (220 mm height), drawn by P.J. Redouté, printed in colors and contemporary enhanced with watercolor "underhis eyes". Born in an artistic family, Pierre-Joseph Redouté discovered Van Huysum's excellent flowers productions thanks to a travel in Holland. "It is the most complete of the 8vo editions. It is illustrated with 2 portraits and 181 plates including 21 appearing for the first time. It encloses a new methodic classification of the roses by C.E. Thory". Giving free rein to his natural inclination, Redouté executed small watercolors "that showed an anatomical science of the flower and of the plant unknown until him, as well as a richness of effects, a brightness of colors that left all the models far behind". Redouté became Queen Marie Antoinette's private professor. At each of the royal lessons, the most beautiful flowers in Versailles' greenhouses were displayed in vases from Japan and Sèvres before being marvelously watercolored uner the eyes of the Queen by the painter. Teacher of Joséphine and then of Marie-Louis, he also taught his art to the duchess de Berry, to Queen Marie Amélie and to Madame Adélaïde. In 1822, Louis XVIII named Redouté "professor of vegetal iconography to the King's Garden". Through the 182 marvelous plates, with a line both precise and light, are revived all these species of ancient rosebushes that enchanted Versailles or Bagatelle's rose gardens. Rosa centifolia, gallica,
Edité par Crapelet for P. Dufart and J.F. Hauer & Cie. of St. Petersburg, Paris, 1835
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
3 volumes, octavo. (9 1/2 x 6 1/2 inches). Half-titles. 2 lithographic portraits of Redouté and Thory by C.Motte after Mauraisse, hand-coloured engraved floral wreath by Manceau after Redouté, 183 stipple-engraved plates printed in colours and finished by hand by Chardin, Langlois, Lemaire and others after Redouté (including 3 plates illustrating the anatomy of the rose). Contemporary French blue half morocco gilt, the flat spine in five compartments delineated by horizontal rules, titled in the second, numbered in the fourth, green silk page-markers, marbled endpapers. A very fine set of Redouté's best known work. The "most complete edition" (Madol) to be published during his lifetime, this is a re-issue of the second octavo edition, with the addition of St. Petersburg to the imprint, and containing the 23 additional plates, the portraits and the frontispiece floral wreath, the biographical note on Thory and additional text. Pierre-Joseph Redouté, the most successful flower painter of all time, 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. "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. The success of the folio edition prompted the issue of a second (first octavo) edition in 40 parts between 1824 and 1826 with 160 plates and an expanded text. New information and new varieties led to the issue of a third edition (second octavo) edition, published in 30 parts between 1828 and 1829. The popularity of the first issue of this edition warranted the publication of the present second issue (with reset and reprinted title pages). In both issues the text was expanded yet again to contain not only more information about the culture of the rose but also by the addition of a biography of Thory by D.Beaumont, the inclusion of Thory's Traité du Rosier and the descriptive text to the 23 additional plates. In addition a floral wreath plate was added as a frontispiece to volume I and the portraits of Redouté and Thory were included for the first time. The plates are masterpieces in miniature of the engraver's art and lose none of the impact of their larger precursors in the process of reducing them from the folio to octavo format. Redouté as presiding genius is plainly discernable. Dunthorne 233; Lawalrée 39; Madol 42; Macphail Redoutéana 22; cf. Nissen BBI 1599; Stafleu & Cowan TL2 8751; Stock Rose Books 2371.
Edité par Paris: Pierre Didot L'Aine, 1799 [-1804]., 1804
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
REDOUTÉ, Pierre-Joseph (1759-1840) - CANDOLLE, Augustin Pyramus de, (1778-1841). Plantarum succulentarum historia, ou Histoire naturelle des plantes grasses. Paris: Pierre Didot L'Aine, 1799 [-1804]. Parts 1-24 in 3 volumes. Folio (20 x 12 6/8 inches). Letterpress title-page (creased in volume one, torn with considerable loss in volume III, library stamp removed) and index in each volume (one or two pale marginal stains to volume one). 142 colour printed stipple-engraved plates after Redoute (first plate in volume II loose), interleaved with text by Candolle (some spotting). Contemporary half tan calf, marbled paper boards, gilt (very worn, hinges weak, those on volume III strengthened). LARGE PAPER ISSUE OF REDOUTE'S FIRST MAJOR WORK AS AN ILLUSTRATOR. One of 100 copies issued. Originally published in fascicles: the first 28 (containing 180 plates) between 1799 and 1805, when an argument between de Candolle and the publisher halted publication. The work was resumed through the interest of the botanist J.-B.-.A. Guillemin (1796-1862), who issued, in quarto edition, another three fascicles (nos.29-31 [with a further 19 plates]). A thirty-second fascicle of five plates remains unpublished. The first major botanical work to rely on colour-printed plates using the technique of stipple-engraving, an art refined by Redoute which he had learned from Francesco Bartolozzi while visiting England with French botanist C.-L. l'Hriter de Brutelle (1746-1800). It has been claimed that Redoute introduced the art to France. Certainly the technique had not been applied to flowers before and it allowed for the first time the artist to reproduce the delicacy of a flower's form and color that had so far eluded the printer's art. "Plantes Grasses." as it is better known, was also the first collaboration between the then young Swiss botanist and Redoute; their magnum opus was "Les Liliacees" (1802-1816). It was inspired by the suggestion of l'Hriter de Brutelle (1746-1800). Whilst Redoute began work on the drawings on vellum, R.-L. Desfontaines "found a young Swiss botanist, Augustin-Pyramus De Candolle., then a student at the garden, ready to undertake the task of writing the descriptions of each species. Desfontaines also found a publisher. Out of this collaboration. developed the now famous "Plantarum historia succulentum", . The original folio edition was struck off in 100 copies. The number of copies printed for the quarto and for other later editions is not known" (Stafleu in Hunt "Redouteana" pp.15-16). Dunthorne 241; Great Flower Books p.53; Hunt Redouteana 6; Nissen BBI 321; Stafleu and Cowan 983.
Edité par Paris Chez L'Auteur -16, 1802
Vendeur : Shapero Rare Books, London, Royaume-Uni
Art / Affiche / Gravure
Group of eight stipple-engraved plates of Amaryllis, printed in colours and finished by hand. Framed and glazed, overall size: 43.3 cm by 61.8 cm. The highest peak of Redoute's artistic and botanical achievement. Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redoute was at the height of his powers during the publication of Les Liliacees. It is easily the equal in accomplishment of its more popular successor, Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliaceae, At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them. Nissen BBI 1597; Great Flower Books, p.71; Dunthorne 231; Stafleu TL2 8747; Hunt Redouteana 10.
Edité par Paris: Crapelot, 'An XI - 1803' [1803-1808]., 1808
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
2 volumes. Folio (20 3/8 x 13 3/8 inches). Half-titles. With 60 engraved plates by Sellier after P. J. Redouté, P. Bessa and others (light spotting or browning, especially in volume II). Contemporary red paper boards with vellum corners (backstrip of volume two worn with considerable loss, scuffed and worn with minor loss at extremities). Provenance: With contemporary stenciled shelfmarks on front covers and title-pages; small 19-th century library label of "M.M.B." on each front paste-down; ink library stamp of C Gattiker, Paris, on the half-title of volume one, and the front free endpaper and verso of the frontispiece in volume II. First edition. Redoute's first collaboration with Ventenat was his commission from the Empress Josephine Beauharnais to make an artistic record of her garden of rare plants at Malmaison. The result was the celebrated "Jardin de Malmaison" (1803-04). This present work, published around the same time, is further testimony to their successful collaboration. Jacques-Philippe-Martin Cels (1740-1806) was a tax collector from 1761 until the Revolution when he was forced to resign and take up the study of botany under the guidance of Bernard de Jussieu and Louis-Guillaume Le Monnier, and the influence of Roussea. At the beginning of the nineteenth century Cels had established a garden of about eighteen acres, first described by Ventenat in his "Description des plantes nouvelles et peu connues cultivées dans le jardin de J. M. Cels" (1800-1802), with 100 color plates by P. J. Redouté. "Choix de plantes dont la plupart sont cultivées dans le jardin de Cels", is their second book capturing the beauty of Cels's celebrated garden, recognized by his contemporaries as one of the most beautiful in Europe. It had previously been depicted in Charles-Louis L'Héritier's "Stirpes novae" (1784-1791), of Candolle and Redoute's "Plantarum succulentarum historia, ou Histoire naturelle des plantes grasses" (1799) and "Astragalogia nempe astragali" (1802), and their magnum opus "Les Liliacees" (1802-1816). Nissen BBI 2047; Stafleu & Cowen, VI 16.008. Catalogued by Kate Hunter.
Couverture rigide. Etat : Très bon. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:6.0pt; mso-para-margin-right:0cm; mso-para-margin-bottom:0cm; mso-para-margin-left:0cm; mso-para-margin-bottom:.0001pt; text-align:center; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} Partly original edition of Redouté?s Roses, sought-after as it is the most complete. Normal 0 21 false false false FR X-NONE X-NONE /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tableau Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:6.0pt; mso-para-margin-right:0cm; mso-para-margin-bottom:0cm; mso-para-margin-left:0cm; mso-para-margin-bottom:.0001pt; text-align:center; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} This is one of the main works by the famous Redouté, nicknamed the ?Raphael of flowers?, by his contemporaries. Nissen 1599 (2 portraits et 181 planches); Great Flower books, 71; Stafleu, 1044. It is illustrated with 183 full-page plates (239 mm high), drawn by P.J. Redouté, printed in colors and contemporary enhanced with watercolor ?before his eyes? and with portraits of Thory and of Redouté. ?It is the most complete of the 8vo editions. It is illustrated with 2 portraits and 181 plates including 21 appearing for the first time. It encloses a new methodic classification of the roses by C.E. Thory?. Our copy encloses 183 plates, that is 2 additional ones compared to the 181 plates mentioned by all the bibliographers. Born in an artistic family, Pierre-Joseph Redouté discovered Van Huysum?s excellent flowers productions thanks to a travel in Holland. Giving free rein to his natural inclination, Redouté executed small watercolors ?that showed an anatomical science of the flower and of the plant unknown until him, as well as a richness of effects, a brightness of colors that left all the models far behind?. Redouté became Queen Marie Antoinette?s private teacher. At each of the royal lessons, the most beautiful flowers in Versailles? greenhouses were displayed in vases from Japan and Sèvres before being marvelously watercolored before the eyes of the Queen by the painter. Teacher of Josephine and then of Marie-Louis, he also taught his art to the duchess de Berry, to Queen Marie Amélie and to Madame Adélaïde. In 1822, Louis XVIII named Redouté ?professor of vegetal iconography to the King?s Garden?. Through the 183 marvelous plates, with a line both precise and light, revive all these species of ancient rosebushes that enchanted Versailles or Bagatelle?s rose gardens. Rosa centifolia, gallica, alpina, multiflora, muscoa, indica, rubrifolia printed in colors have been very subtly enhanced with watercolor before Redouté?s eyes in a very varied range from the most delicate rose to purplish-blue. An attractive copy, particularly wide-margined (height: 239 mm) preserved in its elegant bindings with richly decorated spines.
Edité par Paris: Pierre Didot L'Aine, 1799 [-1804]., 1804
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Parts 1-24 in three volumes. Folio (19 6/8 x 13 inches). Letterpress title-page and index in each volume (some browning). 139 (only) colour printed engraved plates after Redoute, interleaved with text by Candolle (some spotting). Modern half tan morocco, gilt (extremities scuffed). Provenance: with the engraved armorial bookplate of Sir Edmund Giles Loder, Bart (1849-1920), naturalist, horticulturist, traveller and sportsman, on the front paste-down of each volume; the bookplates of H.C. Drayton on the front free endpaper of each volume. LARGE PAPER ISSUE OF REDOUTE'S FIRST MAJOR WORK AS AN ILLUSTRATOR. One of 100 copies issued. Originally published in fascicles: the first 28 (containing 180 plates) between 1799 and 1805, when an argument between de Candolle and the publisher halted publication. The work was resumed through the interest of the botanist J.-B.-.A. Guillemin (1796-1862), who issued, in quarto edition, another three fascicles (nos.29-31 [with a further 19 plates]). A thirty-second fascicle of five plates remains unpublished. The first major botanical work to rely on colour-printed plates using the technique of stipple-engraving, an art refined by Redoute which he had learned from Francesco Bartolozzi while visiting England with French botanist C.-L. l'Hriter de Brutelle (1746-1800). It has been claimed that Redoute introduced the art to France. Certainly the technique had not been applied to flowers before and it allowed for the first time the artist to reproduce the delicacy of a flower's form and color that had so far eluded the printer's art. "Plantes Grasses." as it is better known, was also the first collaboration between the then young Swiss botanist and Redoute; their magnum opus was "Les Liliacees" (1802-1816). It was inspired by the suggestion of l'Hriter de Brutelle (1746-1800). Whilst Redoute began work on the drawings on vellum, R.-L. Desfontaines "found a young Swiss botanist, Augustin-Pyramus De Candolle., then a student at the garden, ready to undertake the task of writing the descriptions of each species. Desfontaines also found a publisher. Out of this collaboration. developed the now famous "Plantarum historia succulentum", . The original folio edition was struck off in 100 copies. The number of copies printed for the quarto and for other later editions is not known" (Stafleu in Hunt "Redouteana" pp.15-16). Dunthorne 241; Great Flower Books p.53; Hunt Redouteana 6; Nissen BBI 321; Stafleu and Cowan 983.
Edité par Paris Chez L'Auteur -16, 1802
Vendeur : Shapero Rare Books, London, Royaume-Uni
Art / Affiche / Gravure
Group of six stipple-engraved plates of Amaryllis, printed in colours and finished by hand. Framed and glazed, overall size: 43.3 cm by 61.8 cm. ID22 The highest peak of Redoute's artistic and botanical achievement. Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redoute was at the height of his powers during the publication of Les Liliacees. It is easily the equal in accomplishment of its more popular successor, Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliaceae, At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them. Nissen BBI 1597; Great Flower Books, p.71; Dunthorne 231; Stafleu TL2 8747; Hunt Redouteana 10.
Edité par C.L.F. Panckoucke, Paris, 1824
Vendeur : Arader Books, New York, NY, Etats-Unis
Edition originale
Hardcover. Etat : Near fine. First. First octavo edition. Paris: C. L. F. Panckoucke, 1824[-1826] Octavo (9 1/8" x 6", 232mm x 153mm). With 160 plates stipple-engraved à la poupée and finished by hand. Bound in contemporary red sheep with a gilt rose roll border. On the spine, 4 raised bands. Title gilt to second panel. Dashed gilt roll to the head- and tail-pieces. Gilt bead-and-reel roll to the edges of the boards. Gilt floral leaf roll to the inside dentelle. End-papers tiger-marbled. All edges of the text block marbled. Boards lightly scuffed. Abrasion to the lower spine-edge of the rear turn-in. Light staining throughout. Darker foxing along the top edges of c1 and c2 of the 33rd part (text to Rosa pomponiana flore subsimplici). A lovely copy. Pierre-Joseph Redouté (1759-1840) -- the "Raphael of flowers" -- found such success with the publication of Les roses (1817-1824) in folio, that he moved to publish a smaller octavo version with C. L. F. Panckoucke immediately following. It was published in forty parts of four plates, and Redouté is said to have overseen the hand-color finishing of the plates. Each plate is accompanied by a description by Claude-Antoine Thory (1757-1827), an eminent botanist and collector of roses. Les roses is Redouté's second work and is considered his finest. The owner of this binding was clearly passionate about roses, both because the plates are organized by species rather than livraison-order, and because the binding is lush with rose motifs. The color of the binding is no doubt an homage to red roses, as are the second and second-to-last end papers as they are dyed pink (rose in French). Catalogue Redoutéana 40; Nissen 1599; Pritzel 7455; Sitwell p. 128.
Edité par Pierre-François Didot, Paris, 1792
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
4 parts in one volume, folio. (20 1/8 x 14 1/8 inches). (4) 36pp., 35 plain engraved plates (including 15 bis), of which 22 are by Redouté and 10 are by Sowerby. Contemporary blue paper boards, rebacked with brown calf preserving original spine. L'Heritier, a wealthy French nobleman and botanist, published a number of important specimen books in the 1780's, illustrating exotic plants found in Europe. In the process he launched the career of Redouté by publishing his illustrations and by introducing him to the highest levels of Parisian society. In addition he instructed Redouté in plant anatomy, the techniques of dissection, and made his large collection of books and specimens available to the young artist. While L'Heritier advised Redouté in the appropriate details necessary for correct botanical drawings, the Dutch flower painter, Gerrit van Spaendonck, encouraged the young artist's talents by teaching him the techniques for capturing variations in tone and color. The Sertum Anglicum, or English Garland of Flowers, was an attempt to describe and illustrate some of the rare exotics growing at Kew Garden. When L'Heritier visited London in 1786, Redouté joined him there, and they worked on the volume together (Hunt). Thirty-one of the plates illustrated their respective species for the first time, while seven contain the only known illustration of the species. Dunthorne 248; Great Flower Books (1990), p. 113; McGill/Hunt 692; Nissen BBI 1189; Pritzel 5270; Stafleu & Cowen 4492.
Edité par Mademoiselle Redouté, Paris, 1844
Vendeur : Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, Etats-Unis
505 x 325 mm. (20 x 12 3/4"). [3] leaves of text. Loose as issued in original printed paper wrapper, in a ca. 1930s marbled paper tray case trimmed in reddish brown calf, gilt titling to back, the case in a well-made matching slipcase also trimmed with leather (the upper joint of the traycase cracked). With lithograph portrait of Redouté and FOUR FINE STIPPLE ENGRAVINGS OF ROSES, printed in color and FINISHED BY HAND. An Oak Spring Flora 61; Dunthorne 236 (1844 ed.); Nissen, BBI 1590; Pritzel 7457 (1843 ed.). â The wrapper repaired and reinforced along fold and lightly soiled, trivial tears and smudges, (a half-inch repaired tear to mount of portrait), otherwise fine, the clean, bright plates entirely free of the foxing that often plagues this work, and with colors so fresh and true one can almost smell the roses. This is the final work by Belgian painter and botanist Pierre-Joseph Redouté (1759-1840), known as the "Raphael of flowers." It was chosen for inclusion in "An Oak Spring Flora" because it characterized the artist's "elegant period" at the end of his life, when "his watercolours were no longer painstakingly painted 'd'après nature,' but were the fruit of a consummate technique." The "Bouquet" contains hand-colored engravings of four roses not included in his masterful monograph on the flower--the Clémentine rose, the Amélie rose, the Adélaide rose, and the Hélene rose--as well as a portrait of Redouté lithographed by Francois-Forunte-Antoine Ferogio after Marie Eléonore Godefory. Redouté's talent was such that he weathered the turbulent politics of his time to serve as court painter and art instructor to Marie Antoinette, to both of Napoleon's empresses (Josephine and Marie-Louise), and to Louis Philippe I's queen, Marie-Amélie. The artist painted many botanical specimens, but it was with roses that he excelled, creating what some have called "portraits" of the queen of flowers. The delicate delineation and careful coloring give his roses an extremely realistic, almost three-dimensional, quality. To reproduce his paintings for books, Redouté turned to stipple engraving. He had been introduced to the technique by Francesco Bartolozzi, and found that the use of dots, rather than just lines, created the subtly shaded effect he sought. He came up with his own trademark method of stipple engraving, combining it with an innovative color printing process that replicated his paintings beautifully. This posthumously published work was first issued in 1843 by the Marchands de Nouveautés and was dedicated by Redouté's widow and daughter to the artist's final royal patroness, Marie-Amélie de Bourbon (1782-1866). Our edition was published the following year for Mademoiselle Redouté. We were only able to trace one sale of the 1844 edition at auction: the de Belder copy, sold by Sotheby's in 1987 for a hammer price of £3,800 ($6,194). The 1843 edition has sold at auction four times since 1976, but all of those copies suffered from some degree of browning and foxing to the plates, happily absent from the present collection.
Edité par Chez L'Auteur Paris -16, 1802
Vendeur : Shapero Rare Books, London, Royaume-Uni
Art / Affiche / Gravure
Set of three stipple-engraved plates of Pineapple and plants, printed in colours and finished by hand. Framed and glazed, overall size: 43.5 x 62 cm. The highest peak of Redoute's artistic and botanical achievement. Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redoute was at the height of his powers during the publication of Les Liliacees. It is easily the equal in accomplishment of its more popular successor, Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliaceae, At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them. Nissen BBI 1597; Great Flower Books, p.71; Dunthorne 231; Stafleu TL2 8747; Hunt Redouteana 10.
Edité par L. É. Herhan for Delachaussée and Garnery, Paris, 1805
Vendeur : Arader Books, New York, NY, Etats-Unis
Edition originale Signé
Hardcover. Etat : Very good. First. First edition, first issue. Paris: L. É. Herhan for Delachaussée and Garnery, 1805. Folio (19 1/8" x 13 3/16", 484mm x 334mm): 2 binder's blanks, [pi]2 a2 b1 1-312, 2 binder's blanks [$1 signed]. 67 leaves, pp. i-v (half-title, printer, title, blank, explanation of the plates) vi-x, 1 2-122, [2] (2pp. table). With 65 engraved plates printed in color à la poupée. Bound in later red morocco, paneled in gilt and blind. On the spine, five raised bands. Illustrator gilt to the third panel, title gilt to fifth, date gilt to the tail. Gilt dashed to the edges of the boards, continuing around to the inside dentelle. Red end-papers. All edges of the text-block gilt. Rubbed at the extremities. Quite foxed and tanned throughout, albeit diminished at the plates. Roughly-repaired losses to the upper edges of [pi]2 (title-leaf) and 312 (the table). Jean-Jacques Rousseau (1712-1778) was a philosopher in the true Greek sense: a general seeker of wisdom. He is of course most studied for his political philosophy, but his work on pedagogy, Emile, is perhaps even more influential. His pedagogical essays are continuous with his broader philosophical stance, and owe a great debt to nature and natural history in particular. Emile emphasizes the importance of an understanding about the natural world, both for its complexity and its simplicity. Rousseau was deeply curious about the world of plants (an engraving by Meyer of Rousseau "herborisant" or herbalizing illustrates this beautifully), and wrote the present treatise in the form of letters to a woman teaching her daughters botany. This epistolary structure is a very XVIIIc mode, drawing ultimately on Cicero. Pierre-Josephe Redouté (1759-1840) was a rather more professional botanist. He came into the favor of the Empress Josephine in particular, and illustrated the roses, irises and lilies (inter alia) in her gardens at Malmaison. He is widely esteemed as the greatest of all flower-painters, and in 1805 his powers were at their apex. It is therefore unsurprising that it is his name and not the great Swiss philosopher's that has been applied to the spine of the volume. The present item is the first state of the first edition, with pl. 54 mis-numbered "62" and without printed titles. Dunthorne 252, Nissen BBI 1688; Pritzel 7824; Sitwell, Great Flower Books p. 134; Stafleu-Cowan 9688.
Edité par Not localized or dated (3 sheets with watermark 'J. Whatman / Turkey Mill** / 1823 [resp. 1824*** and 1825]'), ca. 1823-1825., 1825
Vendeur : C O - L I B R I , Bremen - Berlin ; Deutschland / Germany ., Berlin, Allemagne
Edition originale
18 sheets of paper of the period, sizes from ca. 24 x 19 cm to ca. 31 x 22 cm; the drawings within pencil-frames of ca. 18 x 13/14 cm, slightly varying; 16 of them signed 'P. J. Redouté' in the lower left corner of the frame****. - Loose in olive-grey folded carboard of the period with ink-title at frontpanel (as quoted above) and another similar title in pencil at inner rear-panel (perhaps by Redouté himself): ''Dessin / des Roses / 168 Dessin au Trait / Collection des Dessins originaux / de L'ouvrage des Roses pour l'Edition en-4°- / 168 Dessins au Trait''; Folio (ca. 32,5 x 24,5 cm). *** CHARMING COLLECTION OF REDOUTÉ'S LINE-DRAWINGS FOR THE SECOND EDITION OF HIS OPUS MAGNUM 'LES ROSES', CONTAINING 18 (of ?) SHEETS APPARENTLY EXECUTED BY THE MASTER HIMSELF. - *) As we had no access yet to an Octavo-set (it was printed from 1824-1826) the roses/plates have been identified according to the digitalized Library-of-Congress-copy of the first Edition, 1817-1824. **) 2 of the 3 watermarked sheets carry the additional imprint 'Turkey Mill'; ***) one of them only shows the upper half of the year which looks like 1824, although the upper part of the '4' looks very similar to the upper part of '1', yet the stroke from top-right downwards to the left is longer and not complete (as in '1') and therefore probably of a '4'. ****) Unsigned are the sheet/rose which we could not identify acc. to L.o.C.-copy and 'Rosa gallica (55)' as stated above. --- Very few sheets slightly-but-shallow spotty, mainly in the outer margin, few sheets - mainly the larger ones slightly to somewhat frayed at lower or right edge. OVERALL AN IMPRESSIVE AND CERTAINLY UNIQUE SET.
Edité par C. L. F. Panckoucke, Paris, 1824
Vendeur : Newbury Books, Atlanta, GA, Etats-Unis
Livre Edition originale
Hardcover. Etat : Good. 1st. first octavo edition in original 3/4 brown morocco leather and marbled boards, spine with red title and volume labels and gilt decoration; leather rubbed at extremities with sections of leather missing at corners, armorial bookplate on pastedown, owner's signature and date on title page, light toning to 25 plates, spot of foxing to 9 plates, heavier foxing to 8 plates, 38 plates unaffected. 80 colored stipple-engraved plates with descriptions. Text in French. 2.17lb 9.3x6.8x1.5in.
Vendeur : ASHER Rare Books, T Goy Houten, Pays-Bas
[1], [1 blank] pp.A signed autograph letter by Pierre-Joseph Redouté, acknowledging his reciept of 30 francs from "Monsieur Debure libraire" for the 30th and final part of Les Roses, Redouté's most famous work, which was published in installments between 1817 and 1824. This must be the Paris bookseller Jean-Jacques Debure (1765-1853) or his younger brother Marie-Jacques Debure (1767-1847), who were "libraires du Roi et de la Bibliotheque du Roi" from 1821 to 1830. The book was printed and published by Firmin Didot. Oddly, an addition by a different hand below left notes "payé le 26 fevrier" (paid 26 February). Perhaps Redouté is writing to Firmin Didot and he was to reimburse Debure for this expense. It in any case suggests that Debure is not merely buying copies of the book to sell but was involved in the publication of Redouté's Les Roses in some manner. In fine condition, with only a small piece of paper stuck to the top right corner, not approaching the text.
Edité par Paris : de l'Impr. de Crapelet, An IX-1801., 1801
Vendeur : Sequitur Books, Boonsboro, MD, Etats-Unis
Membre d'association : IOBA
Livre Edition originale
Hardcover. Etat : Fair. First Edition. [Important Work on the Oak Trees of North America] Folio, 45.5 x 30.5 cm. Rebound in fine modern 3/4 morocco, over botanically-theme marbled boards. 5 raised bands. Gilt tooling to spine. 36 copper-engraved plates. Spotting throughout. Stain along top margin, some soot soiling. Most of the plates drawn by Pierre-Joseph Redoute. Commissioned by the French Government, Michaux spent ten years collecting and sending back samples of trees and plants for potential medical or food purposes, and specifically here to assess the suitablity of American oaks for the construction of naval vessels. "His contribution to our knowledge of American plant life made for him a place of imperishable distinction as an American botanist" - Humphry, 'Makers of North American Botany,' p. 177. Great Flower Books, p 119; Nissen BBI, 1358; Stafleu & Cowan 5957. This is an oversized or heavy book, which requires additional postage for international delivery outside the US.
Edité par Paris Chez l'Auteur -16, 1802
Vendeur : Shapero Rare Books, London, Royaume-Uni
Art / Affiche / Gravure
Stipple-engraved plate of Bananas printed in colours and finished by hand. Framed and glazed, overall size: 42.5cm by 62cm. The highest peak of Redoute's artistic and botanical achievement. Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redoute was at the height of his powers during the publication of Les Liliacees. It is easily the equal in accomplishment of its more popular successor, Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliaceae, At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them. Nissen BBI 1597; Great Flower Books, p.71; Dunthorne 231; Stafleu TL2 8747; Hunt Redouteana 10.
Edité par Paris, Imprimerie de Firmin Didot, 1817-24./Antwerp, De Schutter 1817-1824/1974-1978, 1817
Vendeur : Antiquariaat de Roo, Zwijndrecht, Pays-Bas
4 delen, 156, 122, 125, 386 p. Opnieuw gebonden half Leer, groot Folio 56 x 37,5 cm. Een gelimiteerde herdruk van 510 exemplaren, met 169, fraaie, gekleurde platen, dit exemplaar is genummerd 106. Een volledige facsimile herdruk van de drie foliobanden van de oorspronkelijke uitgave 1817-1824, waaraan de uitgevers een vierde deel toevoegden in het Engels en Frans, met als inhoud: - Inleiding door Sir George Taylor. - Biografieën en bilbiografieën van Redouté en Thory door André Lawalrée. - Commentaar op de rozen van Redouté met volledige synoniemen en kritische analyse door Gisele de la Roche. - Beknopte vertaling van Thory's tekst en aanvullingen. Geen enkele bloemenschilder heeft zijn naam en onsterfelijkheid zo in verband gebracht met één geslacht als Redouté met de roos. Deze driedelige set is het beroemdste werk van Redouté. De 169 handgekleurde platen zijn de meest gereproduceerde van alle botanische afbeeldingen. Pierre Joseph Redouté (1759-1840) kwam uit een Belgische schildersfamilie en diende zelf, onder verschillende titels, als tekenmeester voor de koninginnen en prinsessen van Frankrijk gedurende een halve eeuw. Koninklijk of aristocratisch mecenaat was essentieel voor de productie van zijn vele kostbare en rijkelijk geïllustreerde werken. 4 volumes, 156, 122, 125, 386 p. Half leather, Large Folio 56 x 37,5 cm. A limited reprinted edition to 510 copies, with very fine 169 color plates, this copy numbered 106. A complete facsimile reprint of the three folio volumes of the original 1817-1824 edition, to which the publishers have added a matching fourth volume in English and French including: Introduction by Sir George Taylor. Biographies and bilbiographies of Redouté and Thory by André Lawalrée. Commentary on the Roses of Redouté with full synonymy and critical analysis by Gisele de la Roche. Summary translation of Thory's text and additional color plates of roses by Redouté. No flower painter has so linked his name and immortality with a single genus as has Redoute? with the rose. This three-volume set is Redoute? most famous work; its 169 hand-colored plates are the most frequently reproduced of all botanical images. Pierre Joseph Redoute? (1759-1840) was from a Belgian family of painters, and himself served, under various titles, as drawing master to the queens and princesses of France for half a century. Royal or aristocratic patronage was essential for the production of his many costly and lavishly illustrated works.
Edité par Paris,, 1806
Vendeur : Hellmut Schumann Antiquariat, Zurich, Suisse
Signé
8vo (180 x 150 mm). Paris, July 25, 1806. Autograph document signed by famous painter and botanist P.-J. Redouté (1758-1840). Acknowledge receipt of a payment of 160 francs from Nicolas Fochot (17611-1828) for 4 issues of part 24 of his "Lillies". AND: REDOUTE, P.-J. Autograph document signed. Probably addressed to Charles Louis L'Héritier de Brutelle (1746-1800), famous botanist and lawyer. Acknowledge receipt of a payment. 1 p. 8vo (205 x 160 mm). Paris, March 25, 1789. AND: REDOUTE, (Joséphine). Autograph letter signed, written on behalf of P.-J. Redouté to the Comte de Rambuteau, Préfet du Département de la Seine (1781-1869). 1 p. with printed head-line: Peintre de fleurs du Cabinet de la Reine. 4to (264 x 212 mm). Paris, April 28, 1838. AND: REDOUTE, H. I. Autograph letter signed to a colleague. 1 p. 8vo (175 x 135 mm). Paris, April 28, 1838. SCIENCE: GENERAL ; AUTOGRAPHS ; BOTANY ;