fleurs de pierre joseph redouté, Edition originale (8 résultats)

No Binding. Etat : New. 1st Edition. New digital facsimile (in electronic PDF format on CD-ROM disc) of a copy of the first edition of this lovely selection of the most beautiful flowers illustrated by Redoute. Included are 144 hand-colored stipple engravings of fruit as well as flowers. This Octavo Edition contains detailed digital images of the entire book and French text (may be magnified at up to 300% of original size) as well as the first-ever complete English translation and an introduction by Sandra Raphael. This Octavo Edition reproduces Redoute's magnificent plates with greater fidelity and accuracy than ever before.

Softcover. Etat : New. First Edition. 92pp., 32.0x24.0cm., in French.

1. Original-Lithographie von Visco, das ist J.P. Vistau (im Stein signiert) nach einem Gemälde von Annica Bricogne (im Stein signiert) auf rückseitig unbedrucktem Karton aus "L'horticulteur francais", von alter Hand meisterhaft koloriert und gouachiert, im breiten Blattrand minimale Spuren von Alterspatina, ansonsten sauber und sehr gut erhalten, sehr selten 2100 gr.

Couverture souple. Etat : Très bon. Edition originale. lot 3 livres : Rose, Fleurs et Fruits, Oiseaux par Pierre-Joseph Redouté et John Gould, éd. éditions Du Chêne, 1963 et 1964, 3 volumes in-4. couvertures rempliées et illustrées, non paginé, riche iconographie, état : très bon état.

Paperback. Etat : Very good. First. THE FAIRHAVEN SET ON LARGE PAPER, IN PARTS, IN THE PUBLISHER'S WRAPPERS. First edition. In 36 parts. Paris: C.L.F. Panckoucke for the author, C.L.F. Panckoucke, Bossange père, Treuttel & Wurtz, Dufars and Arthus-Bertrand; 1-6: 1827; 7-11: 1828; 12-22: 1829; 23-24: 1830; 25-30; 1831; 32 -35: 1832; 36: 1833. Folio (21 1/16" x 13 ½", 511mm x 343mm). [Full collation available.] With 144 hand-colored stipple-engraved plates in toto. Each part presented in the publisher's printed brown paper wrappers. The first six parts with a pasted overslip reading "PRIX : VINGT-QUATRE FRANCS." Part numeration completed in manuscript. All edges of the text-block and plates untrimmed. Each plate with a tissue guard. The whole presented in a red morocco brass-latched drop-front clam-shell case lined in felt, by Riviere & Son (their gilt stamp to the lower inside lip of the lid). Title, author and date (1827) gilt to the front of the lid. On the spine, six raised bands. Title gilt to the second panel, author gilt to the fourth, date (1827) gilt to the tail. The wrappers frayed and split (the final eight part-wrappers being about an inch taller, the top and bottom edges are curled in by the box). A small repaired split to the front wrapper of pt. 1, a long repaired tear to the front wrapper of pt. 36. The wrapper for pt. 31 is reused from pt. 12. Some soiling to the wrappers throughout, with a handful showing signs of water. Foxed generally, with tanning limited largely to the tissue-guards. Pierre-Joseph Redouté (1759-1840) -- the "Raphael of flowers" -- 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 "Citoyen Chaptal," back to the patronage of the Empress Josephine and on through the Restoration (the present work is dedicated to the two eldest daughters of Louis-Philippe I, the future Queen of Belgium and Duchess of Württemberg); doubtless had he lived into the Second Republic he would have found great favor. After the great projects of the Liliacées (1802-1816) and the Roses (1817-1824), Redouté set about choosing the most beautiful of his botanical portraits, including several fruits and bouquets, into a sort of greatest-hits album: the Choix des plus belles fleurs (Selection of the most beautiful flowers). Redouté and his collaborators had mastered the art of stipple-engraving à la poupée: copperplate-printing in which the individual colors are applied directly to the plate using a small cloth bundle (a poupée is a rag-doll) -- and then finished by hand. Stafleu-Cowan reports that "a restricted number of copies was issued in folio (24 frs per part), the majority was in quarto (12 frs per part);" earlier sources count as few as five. Certainly the double price (864 francs for a work that took 6 years to complete; a rough estimate for an unskilled laborer's wages in northern France around 1830 is about 678 francs annually) will have limited production, as will the hand-coloring by the artist himself, though that is difficult to ascertain. In all, this folio example surpasses the coloration of the quartos we have handled. Henry Rogers Broughton (1900-1973), second baron, was the brother of the first Baron Fairhaven (Urban Huttleston Rogers Broughton), a title created for their father, Urban Hanlon Broughton, who died before it could be bestowed. Their mother was the heiress of Henry H. Rogers, the vastly wealthy oil magnate who became a senior executive of Standard Oil. Armed with their grandfather's fortune, the Broughtons were able to buy and to maintain Anglesey Abbey in Cambridgeshire. The second Baron Fairhaven amassed one of the great collections of natural history books and art (much donated to the Fitzwilliam Museum in Cambridge). The present volume was bought from the second part of his epochal sale (Sotheby's London, 29 November 2022, lot 176). Hunt, Redoutéana 21; Nissen, BBI 1591; Sitwell, Great Flower Books p. 72; Stafleu-Cowan 8750.

Hardcover. Etat : Very good. First. THE GOLDEN COPY. First edition. Paris: C.L.F. Panckoucke for the author, C.L.F. Panckoucke, Bossange père, Treuttel & Wurtz, Dufars and Arthus-Bertrand; 1827[1833]. Quarto (13 1/16" x 9 11/16", 332mm x 246mm). [Full collation available.] With 144 stipple-engraved plates color-printed à la poupée and finished by hand. Bound in contemporary half dark red sheep over brown marbled boards. On the spine, four raised bands. Author and title gilt to the second panel. Marbled end-papers. Rubbed, with wear and some chips to the extremities. Foxing to the first two leaves of text (at the turn-ins, principally), and the odd tanned plate, with scattered light foxing. Tissue-guards throughout, with some tanning and foxing. Altogether quite clean. Pierre-Joseph Redouté (1759-1840) -- the "Raphael of flowers" -- 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 "Citoyen Chaptal," back to the patronage of the Empress Josephine and on through the Restoration (the present work is dedicated to the two eldest daughters of Louis-Philippe I, the future Queen of Belgium and Duchess of Württemberg); 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 château of Malmaison in Rueil (just south of Paris), which Josephine (whose given name was Marie-Josèphe-Rose) had bought. Provided with the raw materials by these women, Redouté set about illustrating. After the great projects of the Liliacées (1802-1816) and the Roses (1817-1824), Redouté set about choosing the most beautiful of his botanical portraits, including several fruits and bouquets, into a sort of greatest-hits album: the Choix des plus belles fleurs (Selection of the most beautiful flowers). Redouté and his collaborators had mastered the art of stipple-engraving à la poupée: copperplate-printing in which the individual colors are applied directly to the plate using a small cloth bundle (a poupée is a rag-doll) -- and then finished by hand. (At its best, there is no better way for an artist to ensure the accurate dissemination of his work, supervising coloration even before presswork.) The volume was purchased at the Sotheby's New York sale of John Golden (22 November 2022, lot 42), "Book Illustration in the Age of Scientific Discovery." Mr. Golden, long a client of Arader's, has through his life worked in the field of printing. His collection, amassed over forty years, contains examples of finely printed works of natural history. Dunthorne 235; Hunt, Redoutéana 21; Nissen, BBI 1591; Sitwell, Great Flower Books p. 72; Stafleu-Cowan 8750.

Hardcover. Etat : Very good. First. THE RARE LARGE-PAPER ISSUE, WITH THE ADDITIONAL SUITE OF PLATES IN BLACK ON OCHRE PAPER. Three volumes. Paris: Firmin Didot, 181718211824. First edition (bound from parts). Folio (21" x 14 1/8", 532mm x 358mm). With 342 engraved botanical plates (i.e., 171 in two states: black on ochre paper and stipple-engraved à la poupée with additional hand color): a garland, a portrait of Redouté (both black as issued) and 169 botanical illustrations. Bound in contemporary quarter green straight-grained morocco over green and red marbled boards by Tessier (his ticket to the front paste-down of vol. I). On the spine, five panels. Author and title gilt to the second panel, number gilt to the fourth. Head- and tail-pieces bumped, split and with losses. Repaired tears to the spine of vol. I. A little rubbed generally, more so at the edges, with wear at the fore-corners. Foxing to the first and last handful of leaves (at times moderate), with mild foxing throughout. The (colored) plates are unusually fresh. Lacking the instructions to the binder in vol. III (322). Lacking tissue guards to pl. 41 of vol. I (Rosa bifera officinalis), pl. 33 of vol. II (Rosa pumila)and pl. 54 of vol. III (Rosa Pomponia Burgundica) (modern acid-free tissue supplied). A 40mm closed tear to 52 of vol. III (pp. 19-20), not affecting the text. "1587" (an inventory number?) in ink in an old hand to the front paste-down of each volume. Pierre-Joseph Redouté (1759-1840) -- the "Raphael of flowers" -- 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 (whose given name was Marie-Josèphe-Rose) had bought. Provided with the raw materials by these women, Redouté set about illustrating. The Roses follows the success of his Liliacées (completed 1816), during which he and his collaborators mastered the art of stipple-engraving à la poupée: copperplate-printing in which the individual colors are applied directly to the plate using a small cloth bundle (a poupée is a rag-doll) -- and then finished, as usual, by hand. (At its best, there is no better way for an artist to ensure the accurate dissemination of his work.). The gardens at Malmaison contained hundreds of species and cultivars of roses, an anomaly in a period in which more exotic plants held a greater fascination. The text of Claude-Antoine Flory (1757-1827), himself a collector of roses, is considered a significant scientific contribution. Though Stafleu in his essay in the Catalogue of Redoutéana concedes that the principal enticement of Redouté's work is aesthetic, he reminds us that the work's "importance as a record of botanical knowledge of the genus Rosa should nevertheless not be underestimated" (op. cit., 26). Redouté published the work in 30 fascicles (livraisons) from 22 March 1817 through 6 March 1824, with six plates per fascicle (excepting the tenth with none and the thirtieth with one). Stafleu-Cowan counts fifteen examples of this large-paper issue -- with the additional hand-coloring carried out by Redouté himself -- with the plates in two states. Tessier was a binder-finisher established in the XVIIc. He was the exclusive binder to Ferdinand Philippe, the duc d'Orleans -- who would have succeeded Louis Philippe had he not predeceased him (and the July Monarchy fallen apart). Estelle Doheny's set was also bound by Tessier. Dunthorne 232; Hunt, Redoutéana 19; Nissen, BBI 1599; Pritzel 7455; Ray, French 89; Sitwell, Fine Flower Books, p. 71; Stafleu-Cowan 8748.

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.