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ACHLEITNER, Oscar (artist). - Sarah Bennett WALKER

La Grande Flora de Colorado de Montaña y Llanos

Denver, Colorado: Frank S. Thayer, [no date but plates with copyright date 1901]. Series I (all published), folio (19 5/16 x 15 12/ inches). 1p. title/introduction with list of contents and limitation statement on the verso, printed in brown on thick paper. 12 chromolithographs by Percy W. Franklin after Osacr Achleitner, printed by Thayer, each print backed onto card and within its own matt, the oval opening of each matt framed by semi-relief decoration in blind, each image with descriptive text printed in brown on a thin paper protective guard covering the image, the guard attached to the backing card. Unbound as issued (except for the title/introduction which is bound to the lower cover) within the original morocco-grained cloth portfolio, brown morocco label on upper cover titled in gilt, fore-edge flap with fastener, wide dark blue satin ties with fastener, brown textured paper pastedowns.

Beautiful and very rare western botanical work: limited to 1000 copies, this numbered 403.

The present series of twelve images were all published by Thayer, despite his assertion, at the foot of the introduction, that "the public may anticipate the publication of the second series during the year 1902". A contemporary review published in that month noted that 'an "art portfolio," entitled "La grande flora de Colorado de Montana y Llanos," has been published by Frank S. Thayer, of Denver, Colorado. The ... series consists of illustrations, reproduced from water colors, of twelve " native wild flowers." The descriptions were prepared by Mrs. S. B. Walker, the well-known collector and cultivator of Colorado flowers. Her work has been exceptionally well done...' (The Botanical Gazette, vol.XXXIV, No.I, July 1902, p.79).

The subjects of the plates were carefully selected from a State flora which, according to the publisher, "is perhaps the most diversified and extensive of any State in the Union. Botanists claim uupwards of 3,000 different varieties, extending from the plains at an altitude of about 4,000 feet to above the timber line in the mountains, at an elevation of about 14,000 feet". The flowers depicted are as follows: I. Wild rose -- II. Rocky Mountain aster -- III. Fairy's torch -- IV. Tiger lily -- V. Gaillardia -- VI. Pentstemon -- VII. Gilia -- VIII. Sand lily -- IX. Rocky Mountain thimble-berry -- X. Rocky Mountain columbine -- XI. Fringed gentian -- XII. Evening primrose. The text was provided by Sarah Bennett Walker, a Colorado pioneer, who was best known at the time as "the maker of many beautiful books of pressed wild flowers, besides ranking as an authority on the habitat of the various species" (introduction).

OCLC 423995870 & 14193294

#23756$2,250.00
 
 
AGRICOLA, Georg Andreas (1672-1738)

A Philosophical Treatise on Husbandry and Gardening: being a new method of cultivating and increasing all sorts of trees, shrubs, and flowers. A very curious work: containing many useful secrets in nature, for helping the vegetation of trees and plant, and for fertilizing the most stubborn soils ... Translated from the High-Dutch, with remarks ... The whole revised and compared with the original, together with a preface, confirming this new method, by Richard Bradley

London: printed for P. Vaillant ... and W. Mears and F. Clay, 1721. Quarto (11 1/16 x 9 inches). Title printed in red and black. 22 engraved plates (13 double-page). Contemporary speckled calf, spine in seven compartments with raised bands, red morocco lettering-piece in the second, the others with repeat decoration in gilt (joints split, corners neatly repaired).

First edition in English, with notes by Richard Bradley, of the "first treatise on cuttings and graftings" (Hunt)

In 1715-16, Agricola, a German doctor who practiced in his native city of Ratisbon, published some details of his important new method of propagating plants. "This consisted in grafting twigs and boughs to pieces of the same tree, using a plaster containing turpentine and pitch, mixed by means of heat, which he termed 'vegetable mummy'. He also said that if 'vegetable mummy' were used to seal the open end of a cut bud, twig, or leaf, this would produce a root and develop into a new plant or tree. He thus claimed to be able to propagate as many new plants as a plant had twigs or even buds and leaves" (Henrey). Agricola subsequently published a book, in two parts, on the same subject "Here Agricola gives a detailed description of his method and its practical possibilities ... This work proved extremely popular and was translated into French, English, and Dutch.' (op. cit..) The French translation was probably by Antoine Augustin Bruzen de la Martinière, and it was translated from this French version into English.

Bradley Bibliography III, p.152; Henrey II, pp.443-446 & III, 41; Hunt II, 452.

#20176$2,250.00
 
 
BADGER, Clarissa W. Munger (1806-1889). - [Lydia Mary SIGOURNEY, William Cullen BRYANT, Mary HOWITT and others, (contributors)].

A Forget-Me-Not. Flowers from nature, with selected poetry

New York: [privately published], 1849 [but 1848]. Folio (15 3/4 x 10 7/8 inches). Letterpress title, 18 leaves of letterpress text. 18 original botanical watercolours by Clarissa Badger, highlighted with gum arabic. Original red moiré cloth, covers blocked in gilt with an elaborate neo-classical design with a large central motif of two muses, lyres in hand, seated at the foot of a column topped by an urn, all surrounded by a border of stylized foliage and birds at the corners, cream glazed-paper endpapers, gilt edges, spine expertly repaired. All within a modern red morocco-backed red cloth box, titled in gilt.

The rarest American colour plate botanical book, here containing the maximum recorded number of original watercolours.

This work was privately published and apparently issued with varying numbers of watercolours and text leaves: it is very rare and we know of only two other copies both complete as issued. One with 13 water-colours and text leaves was sold at Christies London (sale: March 17, 1999, Lot 4), and we have handled one other inscribed copy with 17 watercolours and text leaves. The present example is apparently the most extensively illustrated copy recorded to date. "Both Clarissa Munger and her sister, Caroline, were artists. Caroline went on to become proficient at painting miniature portraits on ivory ... Clarissa concentrated her talents on drawing plants and flowers ... [Her] fine drawings and talented hand have survived to keep her name alive" (J. Kramer. "Women of Flowers" New York: 1996).

Mrs. Badger was an illustrator with an intuitive feeling for the decorative, as she amply demonstrates in this work and in her later published works. The present work is a prototype for these published works ("Wild Flowers drawn and coloured from nature" [New York: 1859, 4to, 22 plates] and "Floral Belles from the green-house and garden" [New York: 1867, folio, 16 plates]).

#19110$37,500.00
 
 
BARTON, William Paul Crillon (1786-1856)

A Flora of North America, illustrated by coloured figures drawn from nature

Philadelphia: Vol. I: M. Carey & Sons; Vol. II & III: H.C. Carey & I. Lea, 1821-1822-1823. 3 volumes, quarto (10 1/2 x 8 3/4 inches). 106 uncoloured engraved plates (1 folding), from drawings by the author, by Cornelius Tiebout (29), G.B. Ellis (32), F. Kearney (23), J. Boyd (7), J. Drayton (6), C. Goodman (6), Jacob J. Plocher (2), and J.L. Frederick (1). (Plate 63 in vol. II bound as two plates, small rust hole in plate 80 in vol.III, half-titles lacking). Contemporary red morocco over marbled paper-covered boards, the flat spine divided into unequal compartments by two pairs of fillets, lettered in the second and numbered in the fourth compartments, the others elaborately decorated in gilt (scuffed, hinges weak or splitting). Provenance: Abraham Bloodgood (Flushing, N.Y., book-labels); Daniel Bartlett Beard (author, conservationist and first superintendant of the Florida Everglades national Park, armorial bookplates).

Very rare uncoloured issue of an important American flora, "magnificently illustrated" (DAB) with "Plates [that] are clear, soft and lovely" (Bennett). The work includes the first successful use of stipple-engraving in the United States. This set includes the rare 'To Subscribers' leaf in Volume II.

In addition to its significance as a botanical work, Barton's Flora... is also one of the most important early colour plate books entirely produced in the United States. "The plates were made by [among others] Cornelius Tiebout, the first really skilled engraver born in the United States, although he trained in London for two years in the 1790's to perfect his technique" (Reese). This uncoloured issue is particularly interesting as Barton states in the advertisement to the first volume that some of the "plates are printed in colour" - none of the plates in the present volume show any signs of colour and are therefore a variant issue of those used in the coloured version, and not merely plates that were not hand-coloured in this country. These may constitute early experimental issues of the plates - produced before the combination of colour-printing and hand-colouring was arrived at. The text gives details of each species, its Latin binomial, common name, and class and order according to the Linnaean system, followed by interesting information about the history of the discovery of the species and details about its geographical range.

Barton, the nephew of Benjamin Smith Barton, was appointed a naval surgeon in 1809 and remained on the Navy's list throughout his life (he was buried with full military honours in Philadelphia in 1856). "In 1815 Barton was chosen professor of botany at the University of Pennsylvania, charming many with his light-hearted herborizing trips along the Schuykill and his lectures which were, contrary to bookish times, demonstrated in his well-stocked conservatory" (DAB). His botanical publications, which appeared over a relatively short span of nine years, began with his Flora Philadelphicae prodromus (1815) and culminated with the present work (1820-24) and his Vegetable materia medica of the United States (1817-19).

BM(NH) I, p.105; Bennett p. 9 (incorrect plate count); Dunthorne 26; Nissen BBI 84; MacPhail Benjamin Smith Barton and William Crillon Barton 19; Meisel III, p.385; Pritzel 446; Reese Stamped with a National Character 11; Sabin 3858; Stafleu & Cowan TL2 236.

#19105$6,750.00
 
 
BARTON, William Paul Crillon (1786-1856)

A Flora of North America. Illustrated by coloured figures, drawn from nature

Philadelphia: vol.I: M. Carey & Sons; vol.II & III: H.C. Carey & I. Lea, [1820-]1821-1823[-1824]. 3 volumes, quarto (10 9/16 x 8 5/16 inches). Half-titles in each volume. To Subscribers leaf in vol.II. 106 hand-coloured engraved plates (two folding), including some partially printed in colours and finished by hand, from drawings by the author, by Cornelius Tiebout (29), G.B. Ellis (32), F. Kearney (23), J. Boyd (7), J. Drayton (6), C. Goodman (6), Jacob J. Plocher (2) and J.L. Frederick (1). (one folding plate partially backed along fold). Contemporary three quarter calf and marbled boards, spines gilt.

An important American flora, "magnificently illustrated" (DAB) with "Plates [that] are clear, soft and lovely" (Bennett). The work includes the first successful use of stipple-engraving in the United States. This set includes the rare 'To Subscribers' leaf in Volume II.

In addition to its significance as a botanical work, Barton's Flora is also one of the most important early colour-plate books entirely produced in the United States. "The plates were made by [amongst others] Cornelius Tiebout, the first skilled engraver born in the United States, although he trained in London for two years in the 1790's to perfect his technique." (Reese, Stamped with a National Character p. 40). Barton states in the advertisement to the first volume that some of the "plates are printed in colour, and are afterwards coloured by hand. It is confidently believed by the author, that they will be found the most successful attempts at imitation by sound engraving, of the French style, yet made in this country." He goes on to note that the method of colour printing was the result of "repeated experiments" owing "to the impossibility of obtaining information as to the manner of colouring abroad." The text gives details of each species, its Latin binomial, common name, and class and order according to the Linnaean system, followed by interesting information about the history of the discovery of the species and details about its geographical range.

BM(NH) I, p.105; Bennett p. 9 (incorrect plate count); Dunthorne 26; Nissen BBI 84; MacPhail Benjamin Smith Barton and William Crillon Barton 19; Meisel III, p.385; Pritzel 446; Reese Stamped with a National Character 11; Sabin 3858; Stafleu & Cowan TL2 236.

#22470$17,500.00
 
 
BARTON, William Paul Crillon (1786-1856)

Vegetable Materia Medica of the United States; or Medical Botany: containing a botanical, general, and medical history, of medicinal plants indigenous to the United States.

Philadelphia: Printed and published by M.Carey & Son, 1817-[1818]. 2 volumes in one, 4to (10 3/4 x 8 3/4 inches). 50 hand-coloured engraved plates (1 folding) by Tanner, Vallance & Kerny & Co. (41), J.Boyd (6) or J.G.Warnicke (2) after Barton, the hand colouring executed by Barton and others. (Lacking 'To the binder' leaf from the back of vol.II as usual, usual foxing and browning). Contemporary tree calf, expertly rebacked in to style retaining the original red and black morocco spine labels.

An important and quite scarce American flora medica from the most important American botanist of his day: the coloured issue with plates coloured by the author personally. A classic of American botany and of early colour-plate books from the heyday of the Philadelphia scientific world of the early 19th century.

First edition of both volumes. Barton describes his plan for the present work in his 'preliminary observations': 'The author of the following pages has undertaken the task of drawing and describing all the important plants of a medicinal character, native to the United States, which are known; and also of figuring and describing many never before noticed for medical properties. In all the drawings... the greatest accuracy will be studied; and with a view to render the work as correct as possible, the author encounters the laborious task of colouring all the plates with his own hand. Since faithful colouring is nearly as important in a work of this nature, as correct drawings, he trusts that the usefulness of the undertaking will be enhanced by this part of his labour. In the history of the plants nothing will be omitted, which can render the work interesting.' (vol.I, p.xiv). In the end Barton was somewhat overwhelmed by the number of subscribers who signed up and in the second volume and he noted that he was "obliged to have recourse to the assistance of others" as far as the colouring of the plates was concerned. Such was the interest that "even with the assistance, sometimes of six persons, he could not supply the coloured copies as rapidly as the publishers orders called for" (vol.II, p.xv)

Barton, the nephew of Benjamin Smith Barton, was appointed a Naval surgeon in 1809 and remained on the Navy's list throughout his life (he was buried with full military honours in Philadelphia in 1856). "In 1815 Barton was chosen professor of botany at the University of Pennsylvania, charming many with his light-hearted herborizing trips along the Schuykill and by his lectures which were, contrary to the bookish times, demonstrated in his well-stocked conservatory" (DAB). His botanical publications, which appeared over a relatively short span of nine years, began with his Flora Philadelphicae Prodromus (1815) and culminated with the present work and his A Flora of North America, Illustrated by coloured figures drawn from nature (1820-1824).

Austin 149; Bennett p.9; BM (NH) I, p.105; Dunthorne 25; Great Flower Books (1990) p.48; McGrath p.12; MacPhail Benjamin Smith Barton and William Paul Crillon Barton 15; Meisel III,377; Nissen BBI 85; Pritzel 444; Sabin 3863; Stafleu & Cowan 324.

#19660$6,750.00
 
 
BATEMAN, James (1811-1897)

A Monograph of the Odontoglossum

London: Savill, Edwards & Co. for L.Reeve & Co., [1867-]1874. Folio (20 1/2 x 14 1/4 inches). Half-title. 30 hand-coloured lithographed plates by Walter Hood Fitch, printed by Vincent Brooks or Vincent Brooks, Day & Son. 20th-century blue morocco by Sangorski & Sutcliffe, covers panelled in gilt, with fillets and a decorative roll, spine in six compartments with raised bands, lettered in second and third, and with initials 'H.C.S.' and the date '1961' at the foot of the spine, the other compartments with double fillet borders around single large centrally-placed flower tools, gilt turn-ins, gilt edges. Provenance: Clare Howard (Corley Castle, Carlisle, early pencil inscription on half title); H.C.S. (binding, dated 1961).

A fine copy of the greatest work on the most beautiful of all the high elevation 'cool' orchids - the genus Odontoglossum - illustrated with magnificent plates by 'the most outstanding botanical artist of his day' (Blunt & Stearn 'The Art of Botanical Illustration' [1994] p.265)

Bateman intended the work to be made up from "at least a dozen parts" (Introduction), but difficulties in obtaining specimens of the high elevation orchids of Central and South America, led him to complete the work in six parts (with each part containing 5 plates). Fitch's plates represent some of his finest work, executed when he was at the height of his artistic powers. His talents are particularly suited to the depiction of Orchids which allow him to demonstrate his "incredible ability in dealing with complicated botanical structures" (Blunt & Stearn p.264).

The Odontoglossum genus was not successfully introduced to Europe until relatively late in the nineteenth century. It had long been known that the genus was rich "in species pre-eminent for the loveliness and delicacy of their flowers" (Introduction), but the mistaken belief on the part of growers that all orchids required hot humid conditions to thrive prevented (with a few accidental exceptions) the successful cultivation of any of the cool orchids.

In about 1860 it finally came to be appreciated that the species which lived at high altitudes (Bateman notes that Odontoglossum are not found below 2500 feet) thrive in cool temperatures and dry air. Armed with this information the so-called 'system of cool treatment' was developed by growers (Bateman's input included his Guide to Cool Orchid Growing, published in 1864), and the knowledge that those without an orchid-house could finally enjoy the beauties of the orchid gave fresh impetus to the spread of interest in orchids in general and the Odontoglossum genus in particular.

"Extremely variable in their markings, there are over three hundred known species of Odontoglossum in Mexico and South America ... As dealers competed to obtain them, the monetary rewards of 'cornering the market' led to secrecy concerning the native habitats of newly discovered varieties" (The Orchid observed 20). Bateman notes in the introduction that the explosion of interest in the genus was such that three independent expeditions to New Grenada "found themselves sailing for the same destination in the same steamer on the same errand!"

Great Flower Books (1990) p.73; Nissen BBI 88; Stafleu & Cowan TL2 343.

#18194$17,000.00
 
 
BIGELOW, Jacob (1787-1879)

American Medical Botany, being a collection of the native medicinal plants of the United States, containing their botanical history and chemical analysis, and properties and uses in medicine, diet and the arts, with coloured engravings.

Boston: published by Cummings and Hilliard, 1817-1818-1820. 3 volumes, octavo in fours (9 7/8 x 6 1/2 inches). Half titles to vols.II and III, as issued. 60 coloured plates, comprising 10 hand-coloured copper engravings and 50 aquatint plates printed in colours à la poupée and with some finished by hand. Half titles in second and third volume. Contemporary tree sheep, the flat spines divided into six compartments by double gilt fillets, red morocco lettering-piece in the second, black morocco roundel in the fourth compartment bearing the volume number (two covers detached, light foxing).

The first American book with colour-printing and a foundation work in American botanical studies.

Bigelow, a native of Massachusetts, attended medical school at the University of Pennsylvania where he became keenly interested in botany as a student of Benjamin Smith Barton, then a professor of materia medica as well as the leading botanist in the United States. Following his graduation in 1810, he entered private practice in Boston and became a professor of materia medica at Harvard Medical School in 1815. His botanizing had already produced his Florula Bostoniensis in 1814, and once installed at Harvard he began work on this, his best known publication.

According to Bigelow's own account, he initially intended that the plates illustrating the work should be hand-coloured engravings. However, envisioning an edition of 1000 copies with sixty plates each, he realized this process was going to prove to be too expensive, and subsequently printed the plates using aquatint with coloured ink applied to the plates "á la poupée" (a method by which the different colour inks are carefully daubed onto the printing plates with a piece of cloth). Up to this time no one in the United States had printed plates using aquatint: the medium served Bigelow well, resulting in the present beautiful images.

Bigelow issued his work in six parts between the fall of 1817 and the spring of 1821, intending that they should be bound in three volumes, as the present copy. The book received favorable notices as it appeared, and one, Walter Channing's review in The North American Review, discussed the production of the plates in particular. Channing names William B. Annin and George Girdler Smith as the engravers and printers.

Bigelow took great care over the physical appearance of his book and the work is noted not just for the illustrations but also the fine typography for an American production. Although in writing to European correspondents, he was apologetic about its appearance, realizing that what was being done in Europe was at a much higher standard than this pioneering American production. He told his friend James Edward Smith that he was "ashamed that the low state of the arts in this country does not suffer us to produce better engravings." Despite his misgivings, American Medical Botany is now recognised as a beautiful and significant work in the history of American botany and colour printing.

Bennett, p.11; Meisel III, p.378; Pritzel 773; BM Natural History 1:162; Nissen BBI 164; Austin 205; Roylance, American Graphic Arts (Princeton, 1990), p.94; Wolfe, Jacob Bigelow's American Medical Botany (1979); Reese, Stamped with a National Character 10.

#21972$4,250.00
 
 
BIGELOW, Jacob (1787-1879)

American Medical Botany, being a collection of the native medicinal plants of the United States, containing their botanical history and chemical analysis, and properties and uses....

Boston: Cummings and Hilliard, 1817-20. 3 volumes (9 11/16 x 6 3/8 inches). 60 coloured plates comprising 10 hand-coloured copper engravings and 50 aquatint plates printed in colours 'à la poupée' and occasionally finished by hand. Half title in second and third volume. Contemporary three quarter maroon calf and marbled boards, gilt-lettered spines. Minor wear to extremities. Scattered foxing. Bookplates on front pastedowns. Blindstamps on titlepages and some plates. Plates also with some minor foxing. Overall very good. In a half morocco box.

The first American book with color-printing, and also a foundation work in American botanical studies, notable for its fine plates.

Bigelow, a native of Massachusetts, attended medical school at the University of Pennsylvania, where he became keenly interested in botany as a student of Benjamin Smith Barton, then a professor of materia medica as well as the leading botanist in the United States. Following his graduation in 1810 he entered private practice in Boston, and himself became a professor of materia medica, at Harvard Medical School, in 1815. His botanizing had already produced his Florula Bostoniensis in 1814, and once installed at Harvard he began work on this, his best known publication.

According to Bigelow's own later account, he at first intended to produce the plates for his work by printing engravings and having them hand-colored. He decided that this would be too expensive, since he envisioned an edition of 1000 copies with sixty plates each. Ultimately he printed the plates using aquatint, with the ink applied to the plates "á la poupée", a method by which the different color inks are daubed onto the printing plates with a piece of cloth. Richard Wolfe, in his book on Bigelow, asserts that a process of creating plates by etching stone was used, but recent work by Philip Weimerskirch and others has established that the aquatint process was used, and in fact Bigelow has left us a very specific account of the book's production. Up to this time no one had printed plates by aquatint in the United States, although within a few years emigrant artists such as John Hill were to take the art to a very high standard. In any case, the medium served well, and the plates are very beautiful indeed.

Bigelow originally issued his work in six parts, intended to be bound in three volumes, between the fall of 1817 and the spring of 1821; however, the titlepages are dated 1817, 1818, and 1821. The book received favorable notices as it appeared, and one, Walter Channing's review in The North American Review, discussed the production of the plates in particular. Channing names William B. Annin and George Girdler Smith as the engravers and printers of the plates. Once they had become skilled in the printing technique they were able to produce 'several hundred' plates a day. At this rate it must have taken the two men about a year of work to produce all of the plates for the book. Annin is also notable for being one of the first American globe-makers.

Bigelow took great care over the physical appearance of his book (many commentators have remarked on the beauty of its typography as well as the plates). In writing European correspondents he was apologetic about its appearance; he was familiar with what was being done in Europe and knew his pioneering American production was not on the same level. He told his friend James Edward Smith that he was "ashamed that the low state of the arts in this country does not suffer us to produce better engravings." Despite his misgivings, American Medical Botany is a beautiful and significant work in the history of American botany and color printing.

Bennett, p.11; Meisel III, p.378; Pritzel 773; BM Natural History 1:162; Nissen 164; Austin 205; Roylance, American Graphic Arts (Princeton, 1990), p.94; Wolfe, Jacob Bigelow's American Medical Botany (1979), passim; Reese, Stamped with a National Character 10.

#14346$7,500.00
 
 
BOOTH, William Chandler (1804-1874) & Alfred CHANDLER (1804-1896)

Illustrations and Descriptions of the plants which compose the natural order Camellieæ, and of the varieties of Camellia Japonica, cultivated in the gardens of Great Britain

London: C.Baynes for John & Arthur Arch, 1831. Volume I (all published), folio (14 5/8 x 10 1/2 inches). 40 hand-coloured engraved (or lithographed) plates, all heightened with gum arabic, after Chandler, 8 by S.Watts, 22 by Weddell, the others unsigned. (Expert repair to upper blank margin of title and preface, occasional craquelure to the gum arabic on the foliage. Expertly bound to style in green straight-grained morocco, covers with elaborate wide border in gilt and blind built up from various fillets and roll tools, with large cornerpieces composed from various small tools, spine in six compartments with raised bands, lettered in the second and fourth compartments, the others with elaborate repeat overall decoration in gilt, gilt turn-ins, marbled endpapers, t.e.g.

One of the most attractive of all the works on Camellias, with highly finished plates after the drawings of Alfred Chandler. This 'handsome and rare' (Blunt) work was published in three states: the present copy is in the most desirable of the three, with the 'very fine large plates, beautifully coloured with opaque pigments' (Dunthorne)

The work was issued with the plates in three states: uncoloured, coloured and coloured and highly finished. All were from Alfred Chandler's original drawings, most of which were based on specimens from the collection of his father who was owner and proprietor of a nursery at Vauxhall. "The name Camellia was given by Linnaeus in honor of George Joseph Camellus or Kamel, a Moravian Jesuit who traveled in Asia and wrote an account of the plants of the Philippine Island, Luzon, which is included in the third volume of John Ray's Historia Plantarum (1704) ... Most of the cultivated forms are horticultural products of C. Japonica, a native of China and Japan, which was introduced into Europe by Lord Petre in 1739. The wild plant has red flowers, recalling those of the wild rose, but most of the cultivated forms are double" (Encyclopaedia Britannica).

The present work includes plates and descriptive text (including details of the plant's first appearance in Great Britain, a physical description and some details of its cultivation and propagation) of 40 species or varieties. Camellia Japonica, of course, figures prominently, with plates of the species, together with 16 varieties bred from the species by the Chinese and 19 English-bred varieties. In addition, plates and descriptions of the Maliflora, Oleifera, Reticulata and Sasanqua are also included. The work ends with 8pp. on the Propagation and Culture of the plants.

Dunthorne 77; Great Flower Books (1990) p.80; Nissen BBI 209; Stafleu & Cowan TL2 651.

#13445$45,000.00
 
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