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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
 
 
ADLUM, John (1759-1836)

A Memoir on the Cultivation of the Vine in America, and the Best Mode of Making Wine

Washington, DC: William Greer, 1828. 12mo (7 x 4 1/4 inches). 179, [1] pp. Errata page on verso of the terminal leaf. Engraved folding frontispiece reproducing a letter from Thomas Jefferson to the author. (Light foxing). Contemporary black morocco-backed marbled paper covered boards, spine ruled and lettered in gilt.

The enlarged second edition of the first American book on wine making.

Adlum was a pioneering American agriculturalist, a promoter of American winemaking, and an early proponent of government-sponsored scientific and agricultural research in the Federal Period. After serving in the Revolutionary War and working on several early state surveys, he established a 200-acre farm and vineyard in Georgetown. There, he devoted most of his remaining years to the study and cultivation of American grapes and wine-making techniques. Adlum provided Thomas Jefferson with vine clippings and bottles of his wine.

The second edition of the first American book devoted to viticulture, after the first of 1823, contains significant additions and revisions. This second edition includes letters written to Adlum by Thomas Jefferson, and the identification for the first time of the Catawba (a native American grape) as Adlum's prize winemaking grape. Scarce and important, both in the history of viticulture and in the development of American natural history.

Rink 1499; American Imprints 31902; Longone & Longone, American Cookbooks, p.44 and N1

#24050$5,000.00
 
 
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
 
 
ALLEN, John Fisk (1785-1865)

Victoria Regia; or the Great Water Lily of America. With a brief account of its discovery and introduction into cultivation: with illustrations by William Sharp, from specimens grown at Salem, Massachusetts, U.S.A.

Boston: printed and published for the author by Dutton & Wentworth, 1854. Folio (27 5/8 x 21 1/4 inches). Letterpress title (verso blank), 1p. dedication to Caleb Cope (verso blank), 12pp. text (numbered [5]-16); 1p. index, plate list, note and errata (verso blank). The text printed in gold throughout. 6 chromolithographed plates by Sharp & Sons of Dorchester, Mass.(5 after William Sharp, 1 after Allen). Early half calf over purple pebble-grained cloth covered boards by F. Sissons of Worksop, England (with their label on the front pastedown), with contemporary red morocco gilt title label on the upper cover.

A monument to American colour printing, a work which launched the age of chromolithography as an art in the United States, and one of the most beautiful flower books ever produced. This an extraordinary copy with the text printed in gold throughout, believed to have been done for presentation and known only by Allen's own copy.

The Victoria Regia; or the Great Water Lily of America, provides an appropriate showcase for this gigantic water lily, first discovered along the Amazon River and then taken to Britain for cultivation. The so-called "vegetable wonder" was first described by Sir R.H.Schomburg in 1837. From the details he gave, the botanist John Lindley suggested that the lily was a new genera and put forward the name Victoria Regia in honour of Queen Victoria during the first year of her reign. "The giant water-lily is a spectacular flower; nineteenth century commentators describe with amazement the vast dimensions of its floating leaves, which could exceed two meters in diameter, and its great white flower, which opened in the evening and closed again at dawn in a truly lovely spectacle" (Oak Spring Flora.).

In 1853, Allen, a well-respected horticulturalist and author of a treatise on viticulture, cultivated a seed from the water-lily given him by Caleb Cope, president of the Pennsylvania Horticultural Society, and the man in whose garden the water-lily first flowered in America on 21 August 1851. Working at his home in Salem, Massachusetts, Allen tended the seed from January to July, when, on the evening of July 21st, the flower finally bloomed. Motivated by his success, Allen hoped to make the glory of the water-lily available to a wider audience, and engaged the services of William Sharp, a British-born artist and pioneer of chromolithography then working in Boston.

Sharp had been practicing with the new technique of chromolithography as early as 1841, the first person to do so in the United States. His early efforts can be seen in Mattson's The American Vegetable Practice (1841), but, as McGrath states, those chromolithographs are merely "passable." Fortunately, Sharp improved his technique, and his next major project, the plates for Hovey's The Fruits of America (1852), demonstrated to all who viewed them the colourful and dramatic potential of chromolithography. Still, the process was in its infancy, and it would take a work of tremendous ambition to satisfactorily popularise the technique.

Allen's proposed book on the water-lily provided such a vehicle. Though the first plate of the Victoria Regia is based on a sketch Allen composed himself, the remaining five plates, which show the gradual development of the flowers from bud to full bloom, are wholly attributable to Sharp. Superlative in concept, colour, and execution, they became the first benchmark of the art. "In the large water lily plates of Victoria Regia, Sharp printed colors with a delicacy of execution and technical brillance never before achieved in the United States" (Reese, Stamped with a National Character).

This extraordinary copy of the great work has the text printed in gold throughout. The only other comparable copy which we have been able to locate is recorded in the 5 May 1913 Annual Report of the Essex Institute (now part of the Peabody Essex Museum): "From the estate of Misses Elizabeth C. and Marion C. Allen of this city the Institute has received Mr. John Fisk Allen's own copy of his finely illustrated monograph on the 'Victoria Regia' which was printed in gold ink." That the author's own copy was similarly printed in gold suggests that such copies were of a very special nature, and were probably produced for presentation. While the provenance of this copy is unknown, given the contemporary English binding, it seems likely that this copy had been sent to England by Allen to a botanist as esteemed as Joseph Hooker, Joseph Paxton, or another as intimately involved in the cultivation of the famed water lily.

Great Flower Books (1990) p.69; Hofer Bequest 72; Hunt Printmaking in the Service of Botany 56; Nissen BBI 16; Reese Stamped with a National Character 19; Stafleu & Cowan TL2 85; Tomasi An Oak Spring Flora 106.

#22037$75,000.00
 
 
ALLEN, Mrs. [G. L.]

The Views and Flowers from Guzerat and Rajpootana

London: Paul Jerrard and Son, [circa 1860]. Large 8vo (10 1/2 x 7 inches). Title and text printed in red, 1p. publisher's advertisement in gilt in rear, hand-colored lithographed floral frontispiece, 12 hand-colored lithographed full-page illustrations (6 views and 6 botanical arrangements). Publisher's green cloth, upper cover heavily tooled in gilt, rear cover with a repeat decoration in blind, glazed yellow endpapers (minor soiling and wear).

Rare colour plate book illustrating views and flowers of northwestern India, finely produced by gift book publisher Paul Jerrard.

This rare gift book illustrated with colour plates depicts the native flowers and scenery of colonial India. The author's husband, the Rev. G. L. Allen, was a chaplain in the region around Deesa and Mount Aboo. Mrs. Allen's text, printed in red, alternatively describes exotic Indian flowering plants and significant local sites that would have been of interest to British travelers.

The botanical plates consist of a floral spray frontispiece, "Mountain Ebony or Banhinia," "Karbee/Wild Flower," "White Elephant creeper and yellow hibiscus," "The Jungle Tree, Torri and Iron Tree," "The Jungle Tree, Seymal and Wild Pomegranate," and "The Ink Tree & Stramonium." The six plates of scenery comprise "The Nukki Talao," "The Aboo Lawrence School," "The Aboo Burial Ground", "The Aboo Church", "Sercaze" and "The Shah Baugh or Royal Garden."

Theakstone, p. 2. Not in Nissen or Abbey.

#24608$6,500.00
 
 
BADGER, Clarissa W. Munger (illustrator). - [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 both 'plates' 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 therefore 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. In 1828 Clarissa married the Reverend Milton Badger. During their marriage they lived … in.. Massachusetts.; New York City; and… Connecticut… Though little is known about her life other than the landmark dates of her birth, marriage, and death, Mrs. … Badger's 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 in effect 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, '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). (Some expert repairs to marginal tears). Expertly bound to style in half red/brown morocco over contemporary blue sugar paper-covered boards, the flat spines divided into six compartments by double gilt fillets, lettered in the second compartment, volume numbers in the fourth .

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.

#19238$17,500.00
 
 
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 '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 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$18,500.00
 
 
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. (Foxed). 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 (extremities rubbed).

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 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
 
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