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browsing 4347 items
displaying items 3301 to 3400
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(total 44 pages)
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Rosier des Indes jaune [Hume's Blush Tea-scented China]
Paris: [C.L.F. Panckoucke, 1827-1833]. Stipple engraving, printed in colours and finished by hand, engraved by Bessin. Very good condition apart from some overall light soiling. Sheet size: 13 x 9 11/16 inches.
A beautiful image from "Choix des Plus Belles Fleurs": one of greatest flower books ever published by the most celebrated flower painter of all time.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in his three great works: Les Liliacees (1802-1816), Les Roses (1817-1824) and the work from which this image comes Choix des plus belles fleurs... et ... des plus belles fruits which was published in 36 parts with 144 plates between 1827 and 1833.
The present image shows Redouté at his most assured, combining the best of his artistic background with his skill as an observer of nature. He writes in the preface to the Choix : ''It is with the benefit of experience, and encouraged by the most flattering approval of naturalists and painters of France and abroad, that I undertook took this most agreeable of botanical works. By ceaseless observation of nature, in its constancy and its variety of forms and colours, I believe that I have reached that synthesis of botanical accuracy, composition and colouration that is essential to produce the perfect image of the plant kingdom.'
Cf. Hunt Redouteana 21; cf. Dunthorne p 235; cf. Great Flower Books (1990), p 129; cf. Nissen BBI 1591; cf. Pritzel 7456; cf. Stafleu & Cowan TL2 8750.
#14645 $3,250.00  
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Ixia Tricolor / Ixia Tricolore [Harlequin Flower]
Paris: [C.L.F. Panckoucke, 1827-1833]. Stipple engraving, printed in colours and finished by hand, engraved by Victor. Very good condition apart a small, soft crease to the top left corner, and some very slight foxing at sheet edges top and right. Sheet size: 12 1/2 x 8 1/2 inches.
A beautiful image from "Choix des Plus Belles Fleurs": one of greatest flower books ever published by the most celebrated flower painter of all time.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in his three great works: Les Liliacees (1802-1816), Les Roses (1817-1824) and the work from which this image comes Choix des plus belles fleurs... et ... des plus belles fruits which was published in 36 parts with 144 plates between 1827 and 1833.
The present image shows Redouté at his most assured, combining the best of his artistic background with his skill as an observer of nature. He writes in the preface to the Choix : ''It is with the benefit of experience, and encouraged by the most flattering approval of naturalists and painters of France and abroad, that I undertook took this most agreeable of botanical works. By ceaseless observation of nature, in its constancy and its variety of forms and colours, I believe that I have reached that synthesis of botanical accuracy, composition and colouration that is essential to produce the perfect image of the plant kingdom.'
Cf. Hunt Redouteana 21; cf. Dunthorne p 235; cf. Great Flower Books (1990), p 129; cf. Nissen BBI 1591; cf. Pritzel 7456; cf. Stafleu & Cowan TL2 8750.
#14657$1,300.00
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Mesembryanthemum Carinatum [Pl. 109]
[Pl. 109]. [Paris: 1812-1814]. Stipple engraving, printed in colour and finished by hand, engraved by Allais. Very good condition with the exception of a tiny loss at upper right corner. Sheet size: 21 1/4 x 14 1/8 inches.
A fine plate from Bonpland's "Description des Plantes Rares Cultivées á Malmaison et á Navarre" considered to be the apex of Redouté's achievement as a botanical illustrator.
Throughout his career, Redouté enjoyed royal patronage, beginning with Marie Antoinette and including the Empress Josephine, for whom he served as official painter. After Empress Josephine's divorce from Napoleon, Navarre became her principal residence, and she sought to recreate the horticultural splendours of Malmaison. This was the last work for which Redoute enjoyed her patronage, yet with the perfection of his stipple process, the illustrations are perfect both scientifically and artistically, and are a fitting close to the great era of Napoleonic works in which all available resources were used to document new and rare species.
Bonpland, who provided the text for the work, was the botanist who accompanied von Humboldt in his explorations of South America and had succeeded Ventenat as botanist to Josephine.
Nissen BBI 207, Dunthorne 240; MacPhail 13; Stafleu TL2 648
#14667$1,450.00
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Calendula Chrysanthemifolia
[Paris: 1812-1814]. Stipple engraving, printed in colour and finished by hand, engraved by Legrand. Very good condition. Sheet size: 21 1/4 x 14 1/4 inches.
A fine plate from Bonpland's "Description des Plantes Rares Cultivées á Malmaison et á Navarre" considered to be the apex of Redouté's achievement as a botanical illustrator.
Throughout his career, Redouté enjoyed royal patronage, beginning with Marie Antoinette and including the Empress Josephine, for whom he served as official painter. After Empress Josephine's divorce from Napoleon, Navarre became her principal residence, and she sought to recreate the horticultural splendours of Malmaison. This was the last work for which Redoute enjoyed her patronage, yet with the perfection of his stipple process, the illustrations are perfect both scientifically and artistically, and are a fitting close to the great era of Napoleonic works in which all available resources were used to document new and rare species.
Bonpland, who provided the text for the work, was the botanist who accompanied von Humboldt in his explorations of South America and had succeeded Ventenat as botanist to Josephine.
Nissen BBI 207, Dunthorne 240; MacPhail 13; Stafleu TL2 648
#14668$1,200.00
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Indigofera Australis [Pl. 45]
[Pl. 45]. [Paris: 1812-1814]. Stipple engraving, printed in colour and finished by hand, engraved by Dion. Very good condition. Sheet size: 21 1/2 x 14 1/4 inches.
A fine plate from Bonpland's "Description des Plantes Rares Cultivées á Malmaison et á Navarre" considered to be the apex of Redouté's achievement as a botanical illustrator.
Throughout his career, Redouté enjoyed royal patronage, beginning with Marie Antoinette and including the Empress Josephine, for whom he served as official painter. After Empress Josephine's divorce from Napoleon, Navarre became her principal residence, and she sought to recreate the horticultural splendours of Malmaison. This was the last work for which Redoute enjoyed her patronage, yet with the perfection of his stipple process, the illustrations are perfect both scientifically and artistically, and are a fitting close to the great era of Napoleonic works in which all available resources were used to document new and rare species.
Bonpland, who provided the text for the work, was the botanist who accompanied von Humboldt in his explorations of South America and had succeeded Ventenat as botanist to Josephine.
Nissen BBI 207, Dunthorne 240; MacPhail 13; Stafleu TL2 648
#14669$1,500.00
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Hibiscus Sabdarifta [Pl. 29]
[Pl. 29]. [Paris: 1812-1814]. Stipple engraving, printed in colour and finished by hand, engraved by Bouquet. Very good condition. Sheet size: 21 1/2 x 14 1/4 inches.
A fine plate from Bonpland's "Description des Plantes Rares Cultivées á Malmaison et á Navarre" considered to be the apex of Redouté's achievement as a botanical illustrator.
Throughout his career, Redouté enjoyed royal patronage, beginning with Marie Antoinette and including the Empress Josephine, for whom he served as official painter. After Empress Josephine's divorce from Napoleon, Navarre became her principal residence, and she sought to recreate the horticultural splendours of Malmaison. This was the last work for which Redoute enjoyed her patronage, yet with the perfection of his stipple process, the illustrations are perfect both scientifically and artistically, and are a fitting close to the great era of Napoleonic works in which all available resources were used to document new and rare species.
Bonpland, who provided the text for the work, was the botanist who accompanied von Humboldt in his explorations of South America and had succeeded Ventenat as botanist to Josephine.
Nissen BBI 207, Dunthorne 240; MacPhail 13; Stafleu TL2 648
#14670$1,450.00
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Bauera Rubiodes [Pl. 96]
[Pl. 96]. [Paris: 1812-1814]. Stipple engraving, printed in colour and finished by hand, engraved by Allais. Very good condition, with the exception of a few very small brown spots. Sheet size: 21 12 x 14 1/8 inches.
A fine plate from Bonpland's "Description des Plantes Rares Cultivées á Malmaison et á Navarre" considered to be the apex of Redouté's achievement as a botanical illustrator.
Throughout his career, Redouté enjoyed royal patronage, beginning with Marie Antoinette and including the Empress Josephine, for whom he served as official painter. After Empress Josephine's divorce from Napoleon, Navarre became her principal residence, and she sought to recreate the horticultural splendours of Malmaison. This was the last work for which Redoute enjoyed her patronage, yet with the perfection of his stipple process, the illustrations are perfect both scientifically and artistically, and are a fitting close to the great era of Napoleonic works in which all available resources were used to document new and rare species.
Bonpland, who provided the text for the work, was the botanist who accompanied von Humboldt in his explorations of South America and had succeeded Ventenat as botanist to Josephine.
Nissen BBI 207, Dunthorne 240; MacPhail 13; Stafleu TL2 648
#14671$1,500.00
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Magnolia Discolor
[Paris: 1812-1814]. Stipple engraving, printed in colour and finished by hand, engraved by Legrand. Very good condition. Sheet size: 21 7/8 x 14 3/8 inches.
A fine plate from Bonpland's "Description des Plantes Rares Cultivées á Malmaison et á Navarre" considered to be the apex of Redouté's achievement as a botanical illustrator.
Throughout his career, Redouté enjoyed royal patronage, beginning with Marie Antoinette and including the Empress Josephine, for whom he served as official painter. After Empress Josephine's divorce from Napoleon, Navarre became her principal residence, and she sought to recreate the horticultural splendours of Malmaison. This was the last work for which Redoute enjoyed her patronage, yet with the perfection of his stipple process, the illustrations are perfect both scientifically and artistically, and are a fitting close to the great era of Napoleonic works in which all available resources were used to document new and rare species.
Bonpland, who provided the text for the work, was the botanist who accompanied von Humboldt in his explorations of South America and had succeeded Ventenat as botanist to Josephine.
Nissen BBI 207, Dunthorne 240; MacPhail 13; Stafleu TL2 648
#14672$3,850.00
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Cactus Ambiguus [Pl. 36]
[Pl. 36]. [Paris: 1812-1814]. Stipple engraving, printed in colour and finished by hand, engraved by Coutant. Very good condition, with the exception of some small losses at the top of the sheet edge, and a skilfully repaired 2" tear at top left. Sheet size: 21 1/2 x 14 1/2 inches.
A fine plate from Bonpland's "Description des Plantes Rares Cultivées á Malmaison et á Navarre" considered to be the apex of Redouté's achievement as a botanical illustrator.
Throughout his career, Redouté enjoyed royal patronage, beginning with Marie Antoinette and including the Empress Josephine, for whom he served as official painter. After Empress Josephine's divorce from Napoleon, Navarre became her principal residence, and she sought to recreate the horticultural splendours of Malmaison. This was the last work for which Redoute enjoyed her patronage, yet with the perfection of his stipple process, the illustrations are perfect both scientifically and artistically, and are a fitting close to the great era of Napoleonic works in which all available resources were used to document new and rare species.
Bonpland, who provided the text for the work, was the botanist who accompanied von Humboldt in his explorations of South America and had succeeded Ventenat as botanist to Josephine.
Nissen BBI 207, Dunthorne 240; MacPhail 13; Stafleu TL2 648
#14674$3,500.00
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Rosa Montezuma / Rosier des Montezuma
Paris: 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Langlois. Very good condition apart. Sheet size: 13 1/2 x 10 inches.
More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full-time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes.
Redouté 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 as well. `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.
Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Great Flower Books (1990), p 128; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Stafleu & Cowan TL2 8748.
#15086$2,000.00
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 REDOUTÉ, After Pierre-Joseph (1759-1840)
Tulipe de Gesner / Tulipa Gesneriana
Paris: [C.L.F. Panckoucke, 1827-1833]. Stipple engraving, printed in colours and finished by hand, engraved by Langlois. Good condition apart from mild soiling, mostly marginal. Sheet size: 13 3/8 x 9 3/4 inches.
A beautiful image from "Choix des Plus Belles Fleurs": one of greatest flower books ever published by the most celebrated flower painter of all time.
This tulip was named after Conrad Gessner (1516-65), a polymath who published the first scientific description and depiction of a tulip in 1561.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in his three great works: Les Liliacees (1802-1816), Les Roses (1817-1824) and the work from which this image comes Choix des plus belles fleurs... et ... des plus belles fruits which was published in 36 parts with 144 plates between 1827 and 1833.
The present image shows Redouté at his most assured, combining the best of his artistic background with his skill as an observer of nature. He writes in the preface to the Choix : ''It is with the benefit of experience, and encouraged by the most flattering approval of naturalists and painters of France and abroad, that I undertook took this most agreeable of botanical works. By ceaseless observation of nature, in its constancy and its variety of forms and colours, I believe that I have reached that synthesis of botanical accuracy, composition and colouration that is essential to produce the perfect image of the plant kingdom.'
Cf. Hunt Redouteana 21; cf. Dunthorne p 235; cf. Great Flower Books (1990), p 129; cf. Nissen BBI 1591; cf. Pritzel 7456; cf. Stafleu & Cowan TL2 8750.
#16835$2,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Amaryllis Reginae / Amaryllis de la Reine [Mexican Lily, Queen's Horse-Star] [Pl. 9]
[Pl. 9]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Langlois. Very good condition. Sheet size: 20 5/8 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3882$7,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Alstroemeria Pelegrina [Pelegrinan Incan Lily] [Pl. 46]
[Pl. 46]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Philipeau. Sheet size: 20 5/8 x 13 1/2 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3923$3,000.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Lachenalia Pendula / Lachenale Pendante [Bulb-bearing Lachenalia] [Pl. 52]
[Pl. 52]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Langlois jeune. Sheet size: 20 1/2 x 13 1/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3924$1,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Pitcairnia Latifolia / Pitcairnie à large feuille [Bracteose Pitcairnea] [Pl. 74]
[Pl. 74]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Marie. Sheet size: 21 1/8 x 14 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3925$1,000.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Lilium Philadelphicum / Lis de Philadelphie [Louisina Red-Lily, Wood Lily] [Pl. 104]
[Pl. 104]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Gabriel. Sheet size: 20 5/8 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3927$3,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Lilium Penduliflorum / Lis à fleur Pendante [Canadian Lily, Wild Yellow Lily] [Pl. 105]
[Pl. 105]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Langlois. Sheet size: 20 3/4 x 13 5/8 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3928$2,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Antholyza Aethiopica / Antholise d'Ethiopie [Flag Lily, Flag-leaved Antholyza] [Pl. 110]
[Pl. 110]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by de Gouy. Sheet size: 21 x 13 7/8 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3929$2,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Amaryllis Undulata / Amaryllis Undulée [Undulate Nerina] [Pl. 115]
[Pl. 115]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Langlois. Sheet size: 20 3/4 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3932$1,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Scilla Maritima / Scille Maritime [Sea Squill, Sea Onion] [Pl. 116]
[Pl. 116]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by de Gouy. Sheet size: 21 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3933$1,750.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Gladiolus Undulatus / Glayeul Undulé [Profusely-flowering Gladiolus] [Pl. 122]
[Pl. 122]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by de Gouy. Sheet size: 20 1/2 x 13 5/8 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3934$2,200.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Fritillaria Imperialis / Fritillaire Impériale [Crown Imperial] [Pl. 131]
[Pl. 131]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by de Gouy. Sheet size: 20 1/2 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3935$8,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Gladiolus Cuspidatus longiflorus / Glayeul en pointe à longue fleur [Undulated Painted Lady] [Pl. 136]
[Pl. 136]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Langlois. Sheet size: 20 1/2 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3936$2,750.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Amaryllis Lutea / Amarillis Jaune [Common Winter Daffodil] [Pl. 148]
[Pl. 148]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by de Gouy. Very good condition. Sheet size: 21 x 14 /14 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3938$1,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Pancratium Littorale / Pancrace des Rivages [Coastal New World Pancratius Lily] [Pl. 154]
[Pl. 154]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by de Gouy. Sheet size: 20 7/8 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3939$2,500.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Narcissus Poeticus / Narcisse des Poëtes [Poet's or Pheasant's Eye Narcissus] [Pl. 160]
[Pl. 160]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Langlois. Sheet size: 20 1/2 x 13 3/4 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3941$3,000.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Iris Martinicensis / Iris de la Martinique [Martinico Iris] [Pl. 172]
[Pl. 172]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by de Gouy. Sheet size: 21 x 14 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3943$1,300.00
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 REDOUTÉ, Pierre-Joseph (1759-1840)
Uvularia Perfoliata / Uvulaire Perfoliée [Common Bellwort] [Pl. 184]
[Pl. 184]. Paris: Imprimerie de Didot jeune, 1802-16. Stipple engraving, printed in colour and finished by hand, engraved by Langlois. Sheet size: 21 x 14 inches.
Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full time job as an illustrator, instructing him in plant anatomy. Redouté's understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Liliacées from which this work comes.
Les Liliacées is one of two Redouté masterworks, the other being Les Roses. These works demonstrate the appropriateness of the accolade "Raphael of Flowers", for one is constantly impressed by the exquisite compositional sense and clarity of vision. More than with any other painter, one sees in Redouté's flowers living, breathing beings at their most beautiful moment.
Cf. Nissen BBI 1597; cf.Great Flower Books (1990), p 128; cf. Dunthorne p 231; cf. Stafleu & Cowan TL2 8747; cf. MacPhaeil, Redouteana, 10.
#3945 | | | |
