Botanicals

Knightsbridge: Andrews, Henry C. , 1797. First edition Fine with original hand-coloring Fine original hand-colored copperplate engraving. Quarto (8 x 10 3/8 inches, 203.2 x 266 mm). An elegantly engraved and hand-colored original late 18th Century botanical print by Henry Charles Andrews. Larger in format than the rival publication of the time, Curtis' Botanical Magazine, London, 1787 on, the Botanists' Repository proved superior with new depictions of finely engraved plates which were produced entirely by the artist and author of the work, Andrews himself. As a footnote to the art of botanical illustration, it was extremely rare for the artist of a singular work to personally engrave, hand-color and document every single plate in a given publication. Although the Botanists' Repository was not Andrew's first botanical work, his noted monograph on heaths (Coloured Engravings of Heaths, London) began in 1794 and completed 1830, it was with this work that Andrews illustrated his mastery as a flower painter, engraver and colorist. In these heretofore undocumented botanic specimens, more aesthetic than scientific, the large format plate allows for finer botanical accuracy, without forsaking the beauty of the composition. (Blunt. The Art of Botanical Illustration, London, 1950.)  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Knightsbridge: Andrews, Henry C. , 1797. First edition Fine with original hand-coloring Fine original hand-colored copperplate engraving. Quarto (8 x 10 3/8 inches, 203.2 x 266 mm). An elegantly engraved and hand-colored original late 18th Century botanical print by Henry Charles Andrews. Larger in format than the rival publication of the time, Curtis' Botanical Magazine, London, 1787 on, the Botanists' Repository proved superior with new depictions of finely engraved plates which were produced entirely by the artist and author of the work, Andrews himself. As a footnote to the art of botanical illustration, it was extremely rare for the artist of a singular work to personally engrave, hand-color and document every single plate in a given publication. Although the Botanists' Repository was not Andrew's first botanical work, his noted monograph on heaths (Coloured Engravings of Heaths, London) began in 1794 and completed 1830, it was with this work that Andrews illustrated his mastery as a flower painter, engraver and colorist. In these heretofore undocumented botanic specimens, more aesthetic than scientific, the large format plate allows for finer botanical accuracy, without forsaking the beauty of the composition. (Blunt. The Art of Botanical Illustration, London, 1950.)  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Knightsbridge: Andrews, Henry C. , 1797. First edition Fine with original hand-coloring Fine original hand-colored copperplate engraving. Quarto (8 x 10 3/8 inches, 203.2 x 266 mm). An elegantly engraved and hand-colored original late 18th Century botanical print by Henry Charles Andrews. Larger in format than the rival publication of the time, Curtis' Botanical Magazine, London, 1787 on, the Botanists' Repository proved superior with new depictions of finely engraved plates which were produced entirely by the artist and author of the work, Andrews himself. As a footnote to the art of botanical illustration, it was extremely rare for the artist of a singular work to personally engrave, hand-color and document every single plate in a given publication. Although the Botanists' Repository was not Andrew's first botanical work, his noted monograph on heaths (Coloured Engravings of Heaths, London) began in 1794 and completed 1830, it was with this work that Andrews illustrated his mastery as a flower painter, engraver and colorist. In these heretofore undocumented botanic specimens, more aesthetic than scientific, the large format plate allows for finer botanical accuracy, without forsaking the beauty of the composition. (Blunt. The Art of Botanical Illustration, London, 1950.)  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Knightsbridge: Andrews, Henry C. , 1797. First edition Fine with original hand-coloring Fine original hand-colored copperplate engraving. Quarto (8 x 10 3/8 inches, 203.2 x 266 mm). An elegantly engraved and hand-colored original late 18th Century botanical print by Henry Charles Andrews. Larger in format than the rival publication of the time, Curtis' Botanical Magazine, London, 1787 on, the Botanists' Repository proved superior with new depictions of finely engraved plates which were produced entirely by the artist and author of the work, Andrews himself. As a footnote to the art of botanical illustration, it was extremely rare for the artist of a singular work to personally engrave, hand-color and document every single plate in a given publication. Although the Botanists' Repository was not Andrew's first botanical work, his noted monograph on heaths (Coloured Engravings of Heaths, London) began in 1794 and completed 1830, it was with this work that Andrews illustrated his mastery as a flower painter, engraver and colorist. In these heretofore undocumented botanic specimens, more aesthetic than scientific, the large format plate allows for finer botanical accuracy, without forsaking the beauty of the composition. (Blunt. The Art of Botanical Illustration, London, 1950.)  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Knightsbridge: Andrews, Henry C. , 1797. French matted in Ivory Rag with gilt line decoration, sized to 16 x 19 inches, suitable for framing. First edition Fine with original hand-coloring Fine original hand-colored copperplate engraving. Quarto (8 x 10 3/8 inches, 203.2 x 266 mm). An elegantly engraved and hand-colored original late 18th Century botanical print by Henry Charles Andrews. Larger in format than the rival publication of the time, Curtis' Botanical Magazine, London, 1787 on, the Botanists' Repository proved superior with new depictions of finely engraved plates which were produced entirely by the artist and author of the work, Andrews himself. As a footnote to the art of botanical illustration, it was extremely rare for the artist of a singular work to personally engrave, hand-color and document every single plate in a given publication. Although the Botanists' Repository was not Andrew's first botanical work, his noted monograph on heaths (Coloured Engravings of Heaths, London) began in 1794 and completed 1830, it was with this work that Andrews illustrated his mastery as a flower painter, engraver and colorist. In these heretofore undocumented botanic specimens, more aesthetic than scientific, the large format plate allows for finer botanical accuracy, without forsaking the beauty of the composition. (Blunt. The Art of Botanical Illustration, London, 1950.)  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Knightsbridge: Andrews, Henry C. , 1797. First edition Fine with original hand-coloring Fine original hand-colored copperplate engraving. Quarto (8 x 10 3/8 inches, 203.2 x 266 mm). An elegantly engraved and hand-colored original late 18th Century botanical print by Henry Charles Andrews. Larger in format than the rival publication of the time, Curtis' Botanical Magazine, London, 1787 on, the Botanists' Repository proved superior with new depictions of finely engraved plates which were produced entirely by the artist and author of the work, Andrews himself. As a footnote to the art of botanical illustration, it was extremely rare for the artist of a singular work to personally engrave, hand-color and document every single plate in a given publication. Although the Botanists' Repository was not Andrew's first botanical work, his noted monograph on heaths (Coloured Engravings of Heaths, London) began in 1794 and completed 1830, it was with this work that Andrews illustrated his mastery as a flower painter, engraver and colorist. In these heretofore undocumented botanic specimens, more aesthetic than scientific, the large format plate allows for finer botanical accuracy, without forsaking the beauty of the composition. (Blunt. The Art of Botanical Illustration, London, 1950.)  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Knightsbridge: Andrews, Henry C. , 1797. First edition Fine with original hand-coloring Fine original hand-colored copperplate engraving. Quarto (8 x 10 3/8 inches, 203.2 x 266 mm). An elegantly engraved and hand-colored original late 18th Century botanical print by Henry Charles Andrews. Larger in format than the rival publication of the time, Curtis' Botanical Magazine, London, 1787 on, the Botanists' Repository proved superior with new depictions of finely engraved plates which were produced entirely by the artist and author of the work, Andrews himself. As a footnote to the art of botanical illustration, it was extremely rare for the artist of a singular work to personally engrave, hand-color and document every single plate in a given publication. Although the Botanists' Repository was not Andrew's first botanical work, his noted monograph on heaths (Coloured Engravings of Heaths, London) began in 1794 and completed 1830, it was with this work that Andrews illustrated his mastery as a flower painter, engraver and colorist. In these heretofore undocumented botanic specimens, more aesthetic than scientific, the large format plate allows for finer botanical accuracy, without forsaking the beauty of the composition. (Blunt. The Art of Botanical Illustration, London, 1950.)  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Knightsbridge: Andrews, Henry C. , 1797. First edition Fine with original hand-coloring Fine original hand-colored copperplate engraving. Quarto (8 x 10 3/8 inches, 203.2 x 266 mm). An elegantly engraved and hand-colored original late 18th Century botanical print by Henry Charles Andrews. Larger in format than the rival publication of the time, Curtis' Botanical Magazine, London, 1787 on, the Botanists' Repository proved superior with new depictions of finely engraved plates which were produced entirely by the artist and author of the work, Andrews himself. As a footnote to the art of botanical illustration, it was extremely rare for the artist of a singular work to personally engrave, hand-color and document every single plate in a given publication. Although the Botanists' Repository was not Andrew's first botanical work, his noted monograph on heaths (Coloured Engravings of Heaths, London) began in 1794 and completed 1830, it was with this work that Andrews illustrated his mastery as a flower painter, engraver and colorist. In these heretofore undocumented botanic specimens, more aesthetic than scientific, the large format plate allows for finer botanical accuracy, without forsaking the beauty of the composition. (Blunt. The Art of Botanical Illustration, London, 1950.)  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Knightsbridge: Andrews, Henry C. , 1797. First edition Fine with original hand-coloring Fine original hand-colored copperplate engraving. Quarto (8 x 10 3/8 inches, 203.2 x 266 mm). An elegantly engraved and hand-colored original late 18th Century botanical print by Henry Charles Andrews. Larger in format than the rival publication of the time, Curtis' Botanical Magazine, London, 1787 on, the Botanists' Repository proved superior with new depictions of finely engraved plates which were produced entirely by the artist and author of the work, Andrews himself. As a footnote to the art of botanical illustration, it was extremely rare for the artist of a singular work to personally engrave, hand-color and document every single plate in a given publication. Although the Botanists' Repository was not Andrew's first botanical work, his noted monograph on heaths (Coloured Engravings of Heaths, London) began in 1794 and completed 1830, it was with this work that Andrews illustrated his mastery as a flower painter, engraver and colorist. In these heretofore undocumented botanic specimens, more aesthetic than scientific, the large format plate allows for finer botanical accuracy, without forsaking the beauty of the composition. (Blunt. The Art of Botanical Illustration, London, 1950.)  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. First printing Pelargoniums: Leotard, Princess Teck. A Fine original hand-colored nineteenth century lithograph by botanical artist James Andrews (1801-76). London c. 1869. Archivally custom framed in Lowry-James' signature neo-classical treatment of framed in 1 inch gilt molding, Ivory rag mat with gilt French line decoration, glazed with conservation glass. Sized to 13.5 x 17.75 inches. James Andrews also produced a fine botanical drawing botanical book: Lessons in Flower Painting (1835), and contributed the plates for a popular sentimental flower book of the nineteenth century: Flora's Gems (c. 1839).  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. Matted in Rag Board First printing Rose: Princess Christian. A Fine original hand-colored nineteenth century lithograph by botanical artist James Andrews (1801-76). London c. 1869. Archivally matted in Ivory rag mat with gilt French line decoration. Sized to 12 x 16 inches. James Andrews also produced a fine botanical drawing botanical book: Lessons in Flower Painting (1835), and contributed the plates for a popular sentimental flower book of the nineteenth century: Flora's Gems (c. 1839).  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. First printing Alpine Auriculas: John Leech, Selina and Monarch. A Fine original hand-colored nineteenth century lithograph by botanical artist James Andrews (1801-76). London c. 1869. Archivally custom framed in Lowry-James' signature neo-classical treatment of framed in 1 inch gilt molding, Ivory rag mat with gilt French line decoration, glazed with conservation glass. Sized to 13.5 x 17.75 inches. James Andrews also produced a fine botanical drawing botanical book: Lessons in Flower Painting (1835), and contributed the plates for a popular sentimental flower book of the nineteenth century: Flora's Gems (c. 1839).  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native to Central America. Flowers June to July. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native to the Americas. Flowers in July. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native to North America. Flowers July to August. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native to South Africa. Flowers in March. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native to Antilles. Flowers in September. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native plant of New Holland. Flowers from April to June. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native to New Holland. Flowers July to August. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native plant of the Orient. Flowers in the Spring. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native to North America. Flowers May to June. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native to the Canary Islands. Flowers June to October. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native plant of the Carolinas. Flowers from July to September. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). Native to North America. Flowers June to August. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Paris: Bessa, 1836. First edition Fine with original hand-coloring Fine Condition. An original exquisitely hand-colored elegant stipple engraving on watermarked paper. Octavo (8 x 11 inches, 203 x 280 mm.) Archival French-matted in Ivory with gilt line decoration, (sized to 12 x 16 inches, 304 x 406 mm), suitable for framing. Pancrace Bessa, (1772-1832), was at one time a student of Van Spaendonck, the esteemed flower painter of Le Jardin du Roi. Bessa mastered the art of stipple engraving along side Pierre Joseph Redoute, who eventually became noted court painter to Empress Josephine and Napoleon. Bessa and Redoute were colleagues, and co-produced some of the finest botanical works of early 19th Century France. Bessa's technical and artistic achievement apparent, the finely hand-colored stipple engravings by Pancrace Bessa are considered 'high points' of botanical illustration. Flore des Jardiniers ( Flora of Gardeners) was Bessa's final botanical publication, and among the finest. (Great Flower Books 159, Dunthorne 33). more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

New York: McGraw-Hill, 1975. First American edition A Fine copy with a Near Fine DJ. Royal Octavo (6.75 x 9.5 in., 171 x 241 mm). Clay cloth with gilt lettering to spine. Very faint stain on front board and minor wear to edge. Pp. 192, with 119 illustrations, including 33 color plates. This volume focuses on the finest of the miniature botanical engravings produced from the 15th -19th Centuries. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Utrecht: de Passe, Crispin, 1614. First edition Fine condition with bright hand-coloring A rare original hand-colored copperplate engraving from the first oblong quarto edition of Hortus Floridus. (10.75 x 7.5 inches, plate mark 8.25 x 5 inches, matted in Ivory Rag to 18.5 x 16 inches). This first edition plate is printed on pressed rag stock with the Latin text on the verso. Crispin de Pass,The Younger (c. 1590-1664) produced 'Hortus Floridus' early in his illustrious career as an engraver of the flowers of the Tulipmania Period of the early 17th Century. Crispin was born into a long line of talented Dutch engravers and learned to master the skill of engraving with a challenging needle-like instrument called the burin. His technical virtuosity was enlivened by his youthful, whimsical spirit as evidenced in his compositions of flowers teeming with insects, birds and small animals as well as allegorical and mythologic themes. This charming work served to inspire a wide array of noted botanical artists, such as Sir John Hill, DeBry, Besler, Sweert and Parkinson well into the following century. (Blunt)Every print is digitally watermarked for web display purposes only. The actual print is unaltered, and sold in original condition. This print is presented in our elegant and traditional matting style; Ivory Rag mat with gold French line, suitable for framing. Historical text documentation accompanies every one of our prints. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Utrecht: de Passe, Crispin, 1614. First edition Fine condition with bright hand-coloring A rare original hand-colored copperplate engraving from the first oblong quarto edition of Hortus Floridus. (10.75 x 7.5 inches, plate mark 8.25 x 5 inches, matted in Ivory Rag to 18.5 x 16 inches). This first edition plate is printed on pressed rag stock with the Latin text on the verso. Crispin de Pass,The Younger (c. 1590-1664) produced 'Hortus Floridus' early in his illustrious career as an engraver of the flowers of the Tulipmania Period of the early 17th Century. Crispin was born into a long line of talented Dutch engravers and learned to master the skill of engraving with a challenging needle-like instrument called the burin. His technical virtuosity was enlivened by his youthful, whimsical spirit as evidenced in his compositions of flowers teeming with insects, birds and small animals as well as allegorical and mythologic themes. This charming work served to inspire a wide array of noted botanical artists, such as Sir John Hill, DeBry, Besler, Sweert and Parkinson well into the following century. (Blunt)Every print is digitally watermarked for web display purposes only. The actual print is unaltered, and sold in original condition. This print is presented in our elegant and traditional matting style; Ivory Rag mat with gold French line, suitable for framing. Historical text documentation accompanies every one of our prints. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

Utrecht: de Passe, Crispin, 1614. First edition Fine condition with bright hand-coloring A rare original hand-colored copperplate engraving from the first oblong quarto edition of Hortus Floridus. (10.75 x 7.5 inches, plate mark 8.25 x 5 inches, matted in Ivory Rag to 18.5 x 16 inches). This first edition plate is printed on pressed rag stock with the Latin text on the verso. Crispin de Pass,The Younger (c. 1590-1664) produced 'Hortus Floridus' early in his illustrious career as an engraver of the flowers of the Tulipmania Period of the early 17th Century. Crispin was born into a long line of talented Dutch engravers and learned to master the skill of engraving with a challenging needle-like instrument called the burin. His technical virtuosity was enlivened by his youthful, whimsical spirit as evidenced in his compositions of flowers teeming with insects, birds and small animals as well as allegorical and mythologic themes. This charming work served to inspire a wide array of noted botanical artists, such as Sir John Hill, DeBry, Besler, Sweert and Parkinson well into the following century. (Blunt)Every print is digitally watermarked for web display purposes only. The actual print is unaltered, and sold in original condition. This print is presented in our elegant and traditional matting style; Ivory Rag mat with gold French line, suitable for framing. Historical text documentation accompanies every one of our prints. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Longman, Rees, Orme, Brown, Green, and Longman, 1834. eighth edition Good Condition. 12 mo. 3/4 dark green tooled leather with cloth spine. Corners bumped. Black paper label [BOTANY] in gold. Hand-marbled end papers and fore-edge. The interior of the front and verso covers are repaired with dark blue binding tape Slight soiling to the first few pages and minor slight soiling and offset to the plates. [i-v], contents [vii-xi], lists of plates, explanation of the table of the classes, pronunciation of the Latin Names of Plants [xii-xvi], 1-284, Based on Sir James Edward Smith's English Flora, this delightful work was organized for children, in an effort to teach the study of botany through the Linnaean classification system. The method for the lesson, as the name states, was through a series of conversations between 'Mother' and her son, 'Edward.' Nicely illustrated with 22 full page bright hand-colored copperplate engravings by Sowerby. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. First printing Brodiaea Coccinea. A Fine original hand-colored lithograph by John Nugent Fitch, (1840 - 1927), after a painting by his uncle Walter Hood Fitch (1817 -1892), London c. 1869. Archivally custom framed in Lowry-James' signature neo-classical treatment of framed in 1 inch gilt molding, Ivory rag mat with gilt French line decoration, glazed with conservation glass. Sized to 13.5 x 17.75 inches. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. Matted and framed in Ivory Rag w/ gold French line and walnut burl molding. Sized to 14 x 11.5 inches. First printing The Fairy Apple. A Fine original hand-colored lithograph by John Nugent Fitch, (1840 - 1927), after a painting by his uncle Walter Hood Fitch (1817 -1892), London c. 1869. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: The Journal of Horticulture, 1869. First printing A Fine original hand-colored lithograph by Walter Hood Fitch (1817 -1892), London c. 1869. Archivally custom framed in Lowry-James' signature neo-classical treatment of framed in 1 inch gilt molding, Ivory rag mat with gilt French line decoration, glazed with conservation glass. Sized to 13.5 x 17.75 inches. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines. As a consummate lithographer, Fitch often executed his compositions directly onto the limestone tablet to be printed directly, thus requiring no intermediate study or sketch. His work is an important addition to any and all botanical collections.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. Matted in Rag Board First printing Primula cortusoides, vars: amoena, straita, grandiflora. A Fine original hand-colored lithograph by John Nugent Fitch, (1840 - 1927), after a painting by his uncle Walter Hood Fitch (1817 -1892), London c. 1869. Archivally matted in Ivory rag mat with gilt French line decoration. Sized to 12 x 16 inches. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. Matted in Rag Board First printing Clematis: Princess Mary. A Fine original hand-colored lithograph by John Nugent Fitch, (1840 - 1927), after a painting by his uncle Walter Hood Fitch (1817 -1892), London c. 1869. Archivally matted in Ivory rag mat with gilt French line decoration. Sized to 12 x 16 inches. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. Matted in Rag Board First printing Oncidium varicosum var. Rogersii. A Fine original hand-colored lithograph by John Nugent Fitch, (1840 - 1927), after a painting by his uncle Walter Hood Fitch (1817 -1892), London c. 1869. Archivally matted in Ivory rag mat with gilt French line decoration. Sized to 12 x 16 inches. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. Matted in Rag Board First printing Hardy Azaleas: Nancy Waterer, Bessie Holdaway. A Fine original hand-colored lithograph by John Nugent Fitch, (1840 - 1927), after a painting by his uncle Walter Hood Fitch (1817 -1892), London c. 1869. Archivally matted in Ivory rag mat with gilt French line decoration. Sized to 12 x 16 inches. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. Matted in Rag Board First printing A Fine original hand-colored lithograph by John Nugent Fitch, (1840 - 1927), after a painting by his uncle Walter Hood Fitch (1817 -1892), London c. 1869. Archivally matted in Ivory rag mat with gilt French line decoration. Sized to 12 x 16 inches. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Journal of Horticulture, 1869. Matted in Rag Board First printing Dianthus neglectus, Dianthus alpinus. A Fine original hand-colored lithograph by John Nugent Fitch, (1840 - 1927), after a painting by his uncle Walter Hood Fitch (1817 -1892), London c. 1869. Archivally matted in Ivory rag mat with gilt French line decoration. Sized to 12 x 15 inches. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: The Journal of Horticulture, 1869. Matted in Rag Board First printing Rhododendron. Mrs. John Clutton. A Fine original hand-colored lithograph by Walter Hood Fitch (1817 -1892), London c. 1869. Archivally matted in Ivory rag mat with gilt French line decoration. Sized to 12 x 16 inches. During his long and illustrious career as botanical artist, Walter Hood Fitch (1817-1892) contributed to some of the most important publications produced during the great age of botanical exploration and discovery of the 19th Century including Curtis' Botanical Magazine and the Royal Botanic Gardens at Kew. Undoubtedly, Fitch was a major contributor to the art of botanical design and horticulture. Though his drawings which were bold, vibrant and exacting, Fitch was able to capture the essence of the flower and thus animate the botanical specimens with very few lines. As a consummate lithographer, Fitch often executed his compositions directly onto the limestone tablet to be printed directly, thus requiring no intermediate study or sketch. His work is an important addition to any and all botanical collections.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Giraud, Jane Elizabeth, 1846. First edition A fine and rare original hand-colored lithograph by Miss Jane Elizabeth Giraud. Near Fine condition with very minor age soiling to edges of plate, not compromising the image. Large Quarto (9.25 x 12.25 inches). Elegantly matted in Ivory rag with gold French line decoration sized to 16 x 19 inches. In the tradition of the "Language of Flowers", as introduced in Miss Giraud's Flowers of Shakespeare (Large Quarto, London c. 1845), these large and showy bouquets of flowers, leaves and vines float above an embellished calligraphic Milton quote. The first letter of each quoted passage is capitalized and adorned in an Illuminated Manuscript style, a detail which has come to be appreciated as a hallmark of Victorian decorative book illustration and design. Miss Giraud's delicate handling of the marriage between botanical art and literature was instrumental in establishing an entire culture of Poetry and Prose gift books. Printed by Day and Haghe, Lithographers to the Queen, this work is dutifully dedicated to Her Most Gracious Majesty, The Queen (Victoria), by Her Majesty's most devoted Servant, Jane Elizabeth Giraud. Faversham 20th June, 1846. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Giraud, Jane Elizabeth, 1846. First edition Rare original hand-colored lithograph by Miss Jane Elizabeth Giraud. Very Good condition with slight toning to plate. Large Quarto (9.25 x 12.25 inches). In the tradition of the "Language of Flowers", as introduced in Miss Giraud's Flowers of Shakespeare (Large Quarto, London c. 1845), these large and showy bouquets of flowers, leaves and vines float above an embellished calligraphic Milton quote. The first letter of each quoted passage is capitalized and adorned in an Illuminated Manuscript style, a detail which has come to be appreciated as a hallmark of Victorian decorative book illustration and design. Miss Giraud's delicate handling of the marriage between botanical art and literature was instrumental in establishing an entire culture of Poetry and Prose gift books. Printed by Day and Haghe, Lithographers to the Queen, this work is dutifully dedicated to Her Most Gracious Majesty, The Queen (Victoria), by Her Majesty's most devoted Servant, Jane Elizabeth Giraud. Faversham 20th June, 1846. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Giraud, Jane Elizabeth, 1846. First edition A fine and rare original hand-colored lithograph by Miss Jane Elizabeth Giraud. Near Fine condition with very minor age soiling to edges of plate, not compromising the image. Large Quarto (9.25 x 12.25 inches). Elegantly matted in Ivory rag with gold French line decoration sized to 16 x 19 inches. In the tradition of the "Language of Flowers", as introduced in Miss Giraud's Flowers of Shakespeare (Large Quarto, London c. 1845), these large and showy bouquets of flowers, leaves and vines float above an embellished calligraphic Milton quote. The first letter of each quoted passage is capitalized and adorned in an Illuminated Manuscript style, a detail which has come to be appreciated as a hallmark of Victorian decorative book illustration and design. Miss Giraud's delicate handling of the marriage between botanical art and literature was instrumental in establishing an entire culture of Poetry and Prose gift books. Printed by Day and Haghe, Lithographers to the Queen, this work is dutifully dedicated to Her Most Gracious Majesty, The Queen (Victoria), by Her Majesty's most devoted Servant, Jane Elizabeth Giraud. Faversham 20th June, 1846. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Giraud, Jane Elizabeth, 1846. First edition A fine and rare original hand-colored lithograph by Miss Jane Elizabeth Giraud. Near Fine condition with very minor age soiling to edges of plate, not compromising the image. Large Quarto (9.25 x 12.25 inches). In the tradition of the "Language of Flowers", as introduced in Miss Giraud's Flowers of Shakespeare (Large Quarto, London c. 1845), these large and showy bouquets of flowers, leaves and vines float above an embellished calligraphic Milton quote. The first letter of each quoted passage is capitalized and adorned in an Illuminated Manuscript style, a detail which has come to be appreciated as a hallmark of Victorian decorative book illustration and design. Miss Giraud's delicate handling of the marriage between botanical art and literature was instrumental in establishing an entire culture of Poetry and Prose gift books. Printed by Day and Haghe, Lithographers to the Queen, this work is dutifully dedicated to Her Most Gracious Majesty, The Queen (Victoria), by Her Majesty's most devoted Servant, Jane Elizabeth Giraud. Faversham 20th June, 1846. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Giraud, Jane Elizabeth, 1846. First edition A fine and rare original hand-colored lithograph by Miss Jane Elizabeth Giraud. Near Fine condition with very minor age soiling to edges of plate, not compromising the image. Large Quarto (9.25 x 12.25 inches). Elegantly matted in Ivory rag with gold French line decoration sized to 16 x 19 inches. In the tradition of the "Language of Flowers", as introduced in Miss Giraud's Flowers of Shakespeare (Large Quarto, London c. 1845), these large and showy bouquets of flowers, leaves and vines float above an embellished calligraphic Milton quote. The first letter of each quoted passage is capitalized and adorned in an Illuminated Manuscript style, a detail which has come to be appreciated as a hallmark of Victorian decorative book illustration and design. Miss Giraud's delicate handling of the marriage between botanical art and literature was instrumental in establishing an entire culture of Poetry and Prose gift books. Printed by Day and Haghe, Lithographers to the Queen, this work is dutifully dedicated to Her Most Gracious Majesty, The Queen (Victoria), by Her Majesty's most devoted Servant, Jane Elizabeth Giraud. Faversham 20th June, 1846. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Giraud, Jane Elizabeth, 1846. First edition A fine and rare original hand-colored lithograph by Miss Jane Elizabeth Giraud. Near Fine condition with very minor age soiling to edges of plate, not compromising the image. Large Quarto (9.25 x 12.25 inches). In the tradition of the "Language of Flowers", as introduced in Miss Giraud's Flowers of Shakespeare (Large Quarto, London c. 1845), these large and showy bouquets of flowers, leaves and vines float above an embellished calligraphic Milton quote. The first letter of each quoted passage is capitalized and adorned in an Illuminated Manuscript style, a detail which has come to be appreciated as a hallmark of Victorian decorative book illustration and design. Miss Giraud's delicate handling of the marriage between botanical art and literature was instrumental in establishing an entire culture of Poetry and Prose gift books. Printed by Day and Haghe, Lithographers to the Queen, this work is dutifully dedicated to Her Most Gracious Majesty, The Queen (Victoria), by Her Majesty's most devoted Servant, Jane Elizabeth Giraud. Faversham 20th June, 1846. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Giraud, Jane Elizabeth, 1846. First edition A fine and rare original hand-colored lithograph by Miss Jane Elizabeth Giraud. Near Fine condition with very minor age soiling to edges of plate, not compromising the image. Large Quarto (9.25 x 12.25 inches). Elegantly matted in Ivory rag with gold French line decoration sized to 16 x 19 inches. In the tradition of the "Language of Flowers", as introduced in Miss Giraud's Flowers of Shakespeare (Large Quarto, London c. 1845), these large and showy bouquets of flowers, leaves and vines float above an embellished calligraphic Milton quote. The first letter of each quoted passage is capitalized and adorned in an Illuminated Manuscript style, a detail which has come to be appreciated as a hallmark of Victorian decorative book illustration and design. Miss Giraud's delicate handling of the marriage between botanical art and literature was instrumental in establishing an entire culture of Poetry and Prose gift books. Printed by Day and Haghe, Lithographers to the Queen, this work is dutifully dedicated to Her Most Gracious Majesty, The Queen (Victoria), by Her Majesty's most devoted Servant, Jane Elizabeth Giraud. Faversham 20th June, 1846. more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)

London: Giraud, Jane Elizabeth, 1846. First edition A fine and rare original hand-colored lithograph by Miss Jane Elizabeth Giraud. Near Fine condition with very minor age soiling to edges of plate, not compromising the image. Large Quarto (9.25 x 12.25 inches). Elegantly matted in Ivory rag with gold French line decoration sized to 16 x 19 inches. In the tradition of the "Language of Flowers", as introduced in Miss Giraud's Flowers of Shakespeare (Large Quarto, London c. 1845), these large and showy bouquets of flowers, leaves and vines float above an embellished calligraphic Milton quote. The first letter of each quoted passage is capitalized and adorned in an Illuminated Manuscript style, a detail which has come to be appreciated as a hallmark of Victorian decorative book illustration and design. Miss Giraud's delicate handling of the marriage between botanical art and literature was instrumental in establishing an entire culture of Poetry and Prose gift books. Printed by Day and Haghe, Lithographers to the Queen, this work is dutifully dedicated to Her Most Gracious Majesty, The Queen (Victoria), by Her Majesty's most devoted Servant, Jane Elizabeth Giraud. Faversham 20th June, 1846.  more information

Offered by Lowry-James Rare Prints & Books, ABAA (United States)